HAND -LOOM 
WEAVIN  G 


MATT  i  &PH1PPS-TODD 


fornia 
lal 

y 


HAND-LOOM 

WEAVING 

A  MANUAL 


JB* 


WEAVING  ON  A  HAND  LOOM 

Showing  the  necessary  positions.     The  ruff  the  little  girl  is  iveaving  is  made  of 

heavy  carpet  wool.     The  body  of  the  rug  is  golden  brown,  with  stripes 

of  deep  blue  and  green,  separated  by  narrow  stripes  of  white 


HAND-LOOM 
WEAVING 


for   gkchoal    ant* 


MATTIE  PHIPPS  TODD 

Of  the  Motley  School,  Minneapolis,  Minn. 
With  an  Introduction  by 

ALICE  W.  CQOLEV 

Formerly  Supervisor  of  Primary  Schools,  Minneapolis,  Minn. 


EDUCATIONAL  PUBLISHERS 
Chicago  New  York  London 


Copyright,  iqo2, 
By  MATTIE  PHIPPS  TODD 


THE  TABLE  OF  CONTENTS 


THE  TABLE  OF  CONTENTS 

PAGE 

An  Introduction.  By  Alice  W.  Cooley  ....  7 
Chapter  One.  The  Primitive  Loom  ....  13 

Chapter  Two.  A  Chat  on  Weaving  ....  22 

Chapter  Three.  First  Steps  in  Weaving  ...  30 

Chapter  Four.  Methods  of  Stringing  Warp  .  42 

Chapter  Five.  Materials 51 

Chapter  Six.  Directions  for  Dyeing  ...  58 

Chapter  Seven.  Methods  of  Splicing  Materials 

for  Weaving 83 

Chapter  Eight.  Wool  and  Silkoline  Rugs  or 

Mats 86 

Chapter  Nine.  Hammocks 93 

Chapter  Ten.  Face  and  Dish  Cloths  and  Bath 

Rugs 99 

Chapter  Eleven.  Raffia  Mats 101 

Chapter  Twelve.  Oriental  Rugs 122 

Chapter  Thirteen.  Navajo  Blankets 135 

Chapter  Fourteen.  Songs,  Games,  and  Stories  .  .  143 
Chapter  Fifteen.  A  List  of  Helpful  Books  and 

Magazine  Articles  .  .  .  .153 
The  Index 159 


2O66O5O 


highest 
aim  of  art  i& 
to  ntakc  sonte 
wsrefttl  thing 
beautiful. 


AN  INTRODUCTION 


AN   INTRODUCTION 


TI^OR  many  years  we,  the  teachers  of  the 
United  States  assembled  in  village,  city, 
State,  and  national  conventions,  have  recited 
our  creed  and  chanted  it  in  all  keys. 

We  believe  that  man  is  a  trinity,  three 
in  one  —  head,  heart,  and  hand,  one  soul 
made  manifest ;  we  believe  that  this  union 
is  vital  and  indissoluble,  since  "what  God 
hath  joined  together"  may  not  be  rent  asun- 
der; we  believe  that  this  three-fold  man, 
being  "put  to  school"  on  earth  to  grow, 
may  devise  and  bring  to  successful  issue 
no  scheme  of  education  that  is  out  of  har- 
mony with  the  plan  of  the  Creator. 

Congratulating  ourselves  upon  our  ready 
and  distinct  utterance  of  this  lofty  thought, 
we  have  calmly  returned  to  our  man-devised 
book-schools  for  the  acquisition  of  knowl- 
edge, in  order  to  forward  some  plan  for  the 
accumulation  of  more  knowledge. 

But  "  wisdom  lingered  "  !  Here  and  there 
voices  were  raised  that  would  not  be  silenced: 
"  You  sang  your  beautiful  song ;  what  are  you 
going  to  do  about  it  ?  "  In  the  words  of  John 


HAND-LOOM  WE  A  VING 


Stuart  Mill,  "  It  is  now  time  to  assert  in 
deeds,  since  the  power  of  words  is  well-nigh 
exhausted." 

Investigators,  studying  this  union  of  head 
and  hand  from  the  physiological  side,  hurled 
truths  at  us  that  startled  us  from  our  lethargy. 

Every  stimulus  poured  into  nerve  cells 
through  the  avenues  of  the  senses  tends  to 
pass  out  in  motor  action,  which  causes  mus- 
cular movement.  In  every  idea  are  vitally 
united  the  impression  and  the  tendency  to 
expression  in  action.  The  nervous  system 
consists  of  the  fibres  which  carry  currents 
inward,  the  organs  of  central  redirection, 
and  the  fibres  which  carry  them  outward— 
sensation,  direction,  action.  Since  control 
means  mental  direction  of  this  involuntary 
discharge  of  energy  (directed  muscular 
movement),  control  of  the  muscles  means 
development  of  will- as  well  as  of  skill.  To 
prevent  or  cut  off  the  natural  outflow  of  nerv- 
ous energy  results  in  fatigue  and  diseased 
nerves.  Unrestrained  and  uncontrolled  ex- 
penditure of  nervous  energy  results  in  law- 
lessness and  weakened  will. 

Men  of  science  said :  "  These  are  facts 
about  man.  What  account  have  you  made 
of  them  in  your  elaborate  system  for  edu- 
cating him?" 


AN  INTRODUCTION 


Students  of  sociological  and  economic 
problems  called  out  to  us  as  the  teachers  of 
men: 

These  great  problems  concerning  the 
relation  of  labor  and  capital  (the  brother- 
hood of  man)  will  never  be  solved  until  there 
is  greater  respect  for  labor ;  greater  appreci- 
ation of  the  value  of  the  products  of  labor; 
until  there  is  more  joy  to  the  worker  in 
his  labor,  which  .should  be  the  expression 
through  his  hand,  of  the  thought  of  his  head, 
and  the  feeling  of  his  heart;  until  labor  is 
seen  in  its  true  light,  as  service;  until  the 
man  with  money  as  well  as  the  man  without 
learns  through  experience  to  respect  and 
appreciate  labor  and  its  products.  "  We 
absorb  only  so  much  as  we  can  interpret  in 
terms  of  our  own  active  experience." 

What  contributions  are  our  schools  mak- 
ing to  the  bettering  of  social  and  industrial 
conditions? 

Philosopher  and  poet  —  thinker  and  seer 
—  send  their  message : 

"That  life  is  wisest  spent 
Where  the  strong,  working  hand 
Makes  strong  the  working  brain." 

To  create,  to  make  something,  is  the 
instinct  of  divinity  in  humanity,  the  power 
that  crowns  man  as  divine. 


Labor 
must  be 
respected 


IO 


HAND-LOOM  WE  A  VING 


The  will 
to  do 


Systematic 
hand- 
training 
the  work 
of  to-day 


"It  is  his  impulse  to  create 
Should  gladden  thee." 

The  practical  business  man  thunders  his 
protest  at  us  against  the  inefficiency  of  the 
man  with  only  the  knowledge-stored  brain. 
He  says :  We  must  have  men  that  can  will 
to  do,  and  then  do  something,  not  merely  men 
that  can  think  of  things  "  'twere  good  to  do." 
Our  public  schools  must  train  men  and 
women  to  go  out  and  take  their  place  with 
the  workers  of  the  world,  to  do  something 
well  and  effectively. 

At  last  we  are  awake,  and  throughout  the 
country  we  are  trying  to  heed  these  calls, 
and  to  revive  our  own  weakened  thought  by 
action,  singing  our  creed  in  deeds.  Upon 
the  foundations  laid  by  Friedrich  Froebel 
and  his  students  in  the  kindergarten,  we  are 
trying  to  build  up  a  course  in  systematic 
hand-training,  through  the  primary,  to  inter- 
mediate and  grammar  grades,  and  thence  to 
manual  training  in  the  high  schools.  What 
to  do  and  how  to  do  it  has  now  become  the 
practical  problem  of  the  day.  Everywhere 
the  wide-awake  primary  teacher  is  sharing 
her  thought  and  experience  with  her  co- 
workers. 

For  little  children,  the  what  must  utilize 
material  suitable  for  little  ringers,  and  tools 


A  N  INTRO  D  UC TION 


II 


must  be  large.  The  finished  product  should 
belong  to  the  maker,  or  be  made  by  him  as  a 
service  rendered  to  others ;  the  result  should 
also  be  worthy  of  keeping  or  giving,  from 
the  view-points  of  both  beauty  and  utility. 

Another  important  factor  is  the  adap- 
tation to  present  public-schoolroom  condi- 
tions, and  to  present  public-school  treasury 
conditions. 

More  thoughtful  study  has  led  to  the 
abandonment  of  the  old-time  sewing  and 
fine  handwork  in  kindergarten  and  primary 
school.  In  its  place  we  find  the  weaving  of 
useful  and  beautiful  articles,  out  of  various 
available  materials,  and  with  simple,  primi- 
tive tools  —  allowing  always  for  much  and 
varied  use  of  the  great  tools,  the  fingers. 

It  is  interesting  to  note  that  teachers 
in  all  parts  of  the  country,  working  inde- 
pendently of  each  other,  have  come  to  prac- 
tically the  same  conclusions,  viz.,  that  under 
present  conditions,  weaving  seems  the  best 
basis  for  a  systematic  course  in  industrial 
work  that  shall  train  head  and  heart  as  well 
as  hand.  It  is  also  of  great  interest  to 
remember  that  the  signboards  along  the 
pathway  of  race  development,  by  means  of 
work,  exchange  of  labor  and  its  products,  all 
point  to  this  idea  as  the  entering  gateway. 


Weaving 
the  best 
hand  work 
for 

primary 
schools 


12 


HAND-LOOM  WEAVING 


This 

manual 

the  result 

of  study 

and 

experience 


Weaving  is  the  first  industry  of  all  primitive 
peoples. 

Being  practically  agreed  as  to  what  shall 
be  the  first  industrial  work  in  the  primary 
school,  the  next  great  question  is  the  how. 
With  large  numbers  of  little  children  in  her 
own  schoolroom,  the  author  of  this  manual 
has  long  sought  a  satisfactory  answer.  Be- 
lieving that  the  results  of  her  study  and 
experience  will  be  helpful  to  others  in  sug- 
gesting possibilities,  and  in  stimulating 
thought,  as  well  as  in  practical  teaching  and 
time-saving,  she  sends  forth  this  little  book 
with  the  earnest  hope  that  it  may  in  these 
ways  be  of  real  service. 

ALICE  W.  COOLEY, 


August  ist,  2902. 


Critic  Teacher  and  Instructor, 
University  of  North  Dakota. 


THE  PRIMITIVE  LOOM 


HAND-LOOM  WEAVING 

©hctpter  ©tie 

THE  PRIMITIVE  LOOM 

\XTEAVING,  the  oldest  of  the  industrial 
arts,  dates  back  so  far  that  no  one 
can  say  when  or  where  it  had  its  beginning. 
We  read  in  Genesis  iii,  21,  that  when  Adam 
was  driven  from  the  Garden  of  Eden  he 
wore  a  coat  of  skin ;  but,  not  long  after, 
according  to  Professor  Hurwitz,  the  descend- 
ants of  Adam  wore  an  upper  garment  called 
the  simla,  which  consisted  of  a  piece  of  cloth 
about  six  yards  long  and  two  or  three  wide, 
greatly  resembling  a  blanket  (Ashcnhnrst}. 
This  might  have  been  woven  from  vegetable 
fibres,  perhaps  from  wool,  but  in  what  man- 
ner we  do  not  know.  The  warp  and  woof  of 
linen  and  woolen  garments  is  mentioned  in 
Leviticus  xiii,  47,  48. 

Spinning  and  weaving  have  been  prac- 
tised by  the  Chinese,  Hindoos,  and  Egyptians 
for  thousands  of  years  and  carried  by  them 
to  great  proficiency.  The  Israelites  were 
probably  familiar  with  the  art  of  weaving 


History 

of 
weaving 


HAND-LOOM  WEA  VING 


Dyeing 


Migration 

of 

weaving 


Weaving 
as 

the  first 

industrial 

art 


Egyptian 
loom 


before  their  sojourn  in  Egypt,  but  it  was 
there  that  they  attained  the  skill  which  en- 
abled them  to  execute  the  hangings  in  the 
Tabernacle.  Joseph's  "coat  of  many  colors" 
is  a  proof  that  dyeing  existed  at  a  very  early 
period,  and  the  eloquent  writings  of  Ezekiel 
tell  us  of  the  beautiful  colored  cloths  of  Tyre 
and  Damascus. 

From  the  ancient  world  the  art  of  weav- 
ing passed  through  Europe  and  became 
known  in  England  after  the  Roman  con- 
quest. No  doubt  primitive  weaving  with 
vegetable  fibres,  and  perhaps  with  wool,  was 
known  in  a  very  crude  way  before  that  time. 
How  the  art  developed,  and  how  improve- 
ment followed  improvement,  makes  very 
interesting  reading  for  the  student  of  textile 
fabrics. 

We  know  that  weaving  is  the  first  indus- 
trial art  practised  by  primitive  peoples,  from 
the  fact  that  it  is  found  among  the  savages 
of  Central  Africa  (Park)  and  the  islands  of 
the  sea.  "Clavigero,  in  his  history  of  Mexico, 
shows  that  on  the  conquest  of  that  country, 
weaving  was  found  to  be  practised  by  the 
natives."  (Ashenhurst.^ 

The  Egyptians  are  supposed  to  have  been 
inventors  of  the  loom.  There  were  two 
kinds  in  use,  one  horizontal  and  the  other 


THE  PRIMITIVE  LOOM 


perpendicular.  Instead  of  a  shuttle  they 
used  a  stick  with  a  hook  at  one  end,  which 
was  used  also  as  a  batten.  Herodotus  says 
that  it  was  the  practice  of  the  Egyptians  to 
push  the  woof  downwards,  and  this  method 
is  pictured  in  many  paintings ;  but  one  rep- 
resentation found  at  Thebes  shows  a  man 
pushing  it  upwards.  The  former  method  is, 
I  believe,  the  one  generally  used  by  all 
nations,  and  it  certainly  seems  the  easier 
way.  Martin's  description  of  a  Hindoo 
loom  in  his  "  Circle  of  the  Mechanical  Arts" 
is  interesting:  "The  loom  consists  merely 
of  two  bamboo  rollers,  one  for  the  warp  and 
the  other  for  the  web,  and  a  pair  of  gears. 
The  shuttle  performs  the  double  office  of 
shuttle  and  batten,  and  for  this  purpose  is 
made  like  a  huge  netting  needle,  and  of  a 
length  somewhat  exceeding  the  breadth  of 
the  cloth.  This  apparatus  the  weaver  carries 
to  a  tree,  under  which  he  digs  a  hole  large 
enough  to  contain  his  legs  and  the  lower 
part  of  the  gear.  He  then  stretches  his  warp 
by  fastening  his  bamboo  rollers,  at  a  due  dis- 
tance from  each  other  on  the  turf,  by  wooden 
pins.  The  balance  of  the  gear  he  fastens  to 
some  convenient  branch  of  the  tree  over  his 
head.  Two  loops  underneath  the  gear,  in 
which  he  inserts  his  great  toes,  serve  instead 


Method 

of 

pushing 

the 

woof 


Hindoo 
loom 


i6 


HAND-LOOM  WEAVING 


Crude 

implements 

used  by 

primitive 

peoples 


Patience 
and 

dexterity 
necessary 


Primitive 

loom  in 

the 

public 
schools 


Its 

disadvan- 
tages 


of  treadles,  and  his  long  shuttle,  which  also 
performs  the  office  of  batten,  draws  the  weft 
through  the  warp,  and  afterwards  strikes  it 
up  close  to  the  web." 

Ashenhurst  says :  "  It  is  very  evident  that 
the  implements  used,  not  only  by  the  early 
Egyptians,  but  by  other  contemporaneous 
nations,  and  even  by  the  Hindoos  at  the 
present  time,  were  of  the  rudest  possible 
character,  and  nothing  but  the  most  exem- 
plary patience,  dexterity,  and  great  delicacy 
of  hand,  acquired  by  long  traditionary  habit, 
can  account  for  the  extraordinary  beauty  and 
fineness  of  their  textile  productions."  This 
exemplary  patience,  dexterity,  and  great  del- 
icacy of  hand  is  exactly  what  we  claim  that 
weaving  develops  in  our  children  to-day. 

The  primitive  loom,  as  it  is  made  for  use 
in  the  public  schools,  is  familiar  to  almost 
every  teacher.  It  consists  of  a  wrooden  frame, 
in  the  two  ends  of  which  are  fastened  brads  at 
intervals  of  half  an  inch.  The  warp  is  strung 
around  these  brads.  There  is  no  variation 
either  in  the  size  of  the  rug  or  in  the  width 
of  the  warp  to  afford  opportunity  for  differ- 
ent materials.  This  is  a  decided  objection, 
as  a  new  frame  has  to  be  made  every  time 
a  change  is  desired.  The  first  difficulty 
encountered  is  the  drawing  in  of  the  sides  of 


THE  PRIMITIVE  LOOM 


the  rug,  which  is  almost  impossible  to  avoid, 
even  with  the  utmost  care.  Photographs  of 
work  in  the  leading  educational  magazines, 
as  well  as  samples  of  teachers'  work,  all  show 
the  same  defect.  The  Indians  obviate  this 
difficulty  by  twisting  two  stout  cords  in  the 
edge  of  the  woof  during  the  process  of 
weaving.  (See  illustration  on  page  135.)  In 
one  school,  where  the  work  in  this  respect 
was  fairly  well  done,  the  teacher  was  asked 
how  she  accomplished  the  result.  Her  reply 
was,  "Oh,  I  make  them  pull  it  out  every 
time  it  draws."  Poor,  patient  little  fingers! 
One  can  imagine  the  thoughts  which  were 
woven  into  that  imperfect  rug  by  the  dis- 
couraged little  worker.  Another  disadvan- 
tage of  the  primitive  loom  is  that  the  child 
must  bend  over  it  while  weaving,  and  if,  by 
chance,  he  turns  it  over  to  examine  the  other 
side  of  the  work,  the  brads  are  apt  to  leave 
an  unsightly  impression  on  the  desk. 

One  of  Froebel's  fundamental  principles 
is  that  a  child  should  never  be  allowed  to  fail 
—  that  his  work  should  be  so  adapted  that  he 
will  succeed  every  time,  and  that  he  should  be 
led  step  by  step  as  his  power  grows,  to  some- 
thing more  difficult. 

"  One  thing  is  forever  good, 
That  one  thing  is  success." 


i8 


HAND-LOOM  WE  A  VING 


Idea  of  the 
"new 
ed  11  ca- 
tion" 


Small 
classes 


Public 

school 

conditions 


Descrip- 
tion of  the 
Todd  loom 


We  have  all  experienced  the  joy  of  success 
in  one  way  and  another.  Let  us  help  the 
children  to  have  the  same  experience. 

The  idea  of  the  "  new  education  "  is  that 
the  child  should  work  out  his  own  salvation 
—  that  having  wrestled  with  the  difficulties 
involved  in  weaving  on  the  primitive  loom, 
he  should  proceed  not  only  to  invent,  but  to 
construct  a  newer  and  more  improved  loom. 
In  model  schools,  where  the  classes  are  limited 
to  ten,  or  sometimes  fewer  children,  with  one 
teacher  and  several  assistants,  this  idea,  if 
carried  out,  is  ideal,  and  perhaps  practical. 
But  what  shall  be  said  of  the  public-school 
teacher  who  has  fifty  children  and  no  assist- 
ants ;  or,  which  is  even  more  objectionable, 
and  which  is  the  case  in  many  of  our  crowded 
schools,  what  of  the  teacher  with  two  sessions 
of  fifty  children  each?  It  was  the  effort 
to  solve  a  problem  of  this  kind  that  led  to 
the  invention  of  the  Todd  adjustable  hand 
loom. 

The  full  size  of  the  loom  is  lox  13  inches, 
upon  which  a  rug  9x12  inches  can  be  woven. 
It  is  made  adjustable  to  innumerable  smaller 
square  and  oblong  sizes,  by  two  devices.  To 
regulate  the  length,  the  head  piece,  wrhich 
is  movable,  can  be  let  down  on  brass  but- 
tons, which  are  disposed  along  the  sides  at 


THE  PRIMITIVE  LOOM 


intervals  of  an  inch. 
Perforations  are 
placed  half  an  inch 
apart  in  the  head  and 
foot  pieces  so  that  the 
side  rods  can  be  moved 
inward  to  regulate  the 
width.  They  also  in- 
sure straight  edges, 
since  the  woof  threads 
are  passed  around 
them  as  the  work  pro- 
gresses. The  rods  also 
serve  another  important  function  as  fulcrums 
upon  which  the  needle  may  be  pressed  up 
and  down,  so  that  it  passes  more  easily  over 
and  under  the  successive  warp  strings.  The 
notches  are  one-sixteenth  inch  and  the  teeth 
one-eighth  inch  apart,  giving  opportunity 
for  warp  one-half,  three-eighths,  and  three- 
sixteenths  inches  wide.  The  loom  has  an 
easel  support,  so  that  the  pupil  need  not 
bend  over  it  —  an  important  consideration 
in  school  classes,  and  in  home  work  as  well. 
This  support  makes  it  possible  to  use  the 
loom  for  an  easel  in  the  painting  lessons,  by 
resting  a  piece  of  pasteboard  against  it.  The 
needle,  which  is  longer  than  the  warp  is  wide, 
serves  also  as  a  heddle  in  pressing  the  woof 


The  Todd 
adjustable 
hand  loom, 
Style  b 


The 
needle 


2O 


HAND-LOOM  WE  A  VING 


Finishing 
the  work 


The  Todd 

adjustable 

hand  loom, 

Style  a 


threads  together  evenly.  It  is  furnished  with 
an  eye  for  worsted,  chenille,  carpet  ravelings, 
or  rope  silk,  and  three  slits  for  rags.  To 
thread  the  needle  with  rags,  pass  the  strip  up 
and  down  through  the  slits  and  back  again 
under  the  strip  through  the  first  slit.  This 
binds  the  strip  securely.  In  finishing  the 
work  weave  the  last  few  woof  threads  with  a 

large  tape  needle,  put- 
ting it  up  and  down, 
over  one  thread  at  a 
time,  as  you  would 
sew  on  canvas.  It  has 
been  found  desirable 
with  children  to  push 
about  an  inch  of  woof 
threads  close  to  the 
head  piece  and  then 
fill  in  the  space.  Care 
should  be  taken  not 
to  pull  the  woof  too 
tight.  If  these  directions  are  followed  and 
the  warp  is  strung  correctly  the  strings  will 
not  slip  out  of  the  notches.  In  adjusting  the 
loom  it  will  be  found  that  the  width  from 
rod  to  rod  is  a  little  more  than  is  required. 
For  instance,  for  a  rug  nine  inches  wide, 
the  width  from  rod  to  rod  will  be  about  nine 
and  one-half  inches.  This  is  to  allow  for  the 


THE  PRIMITIVE  LOOM 


21 


springing  together  when  the  work  is  fin- 
ished. To  remove  it  from  the  loom,  pull 
the  rods  gently  upward  and  out.  Then  lift 
the  warp  strings  out  of  the  notches. 

The  primitive  loom  can  be  used  by  follow- 
ing these  same  directions,  but  the  work  will, 
of  course,  be  limited. 

While  a  great  deal  of  the  work  is  intended 
for  the  schoolroom,  many  suggestions  are 
given  for  home  weaving,  in  making  various 
articles  for  birthday  and  holiday  gifts. 


Removing 

the 

work 


Use  of 
the 

primitive 
loom 


For  school 
and 
home  work 


22 


HAND-LOOM  WE  A  VING 


Weaving- 
defined 


Weaving 

trains 

bc<tli  hands 


The 

threefold 
develop- 
ment 


AXTEAVING  is  the  art  of  interlacing 
threads,  yarns,  filaments,  or  strips  of 
different  material,  so  as  to  form  a  cloth  or 
fabric.  It  is  an  ideal  occupation,  not  only 
for  little  children,  but  for  older  ones  as  well, 
affording  admirable  opportunities  for  the 
development  of  head,  hand,  and  heart.  It 
trains  both  hands  in  deftness  and  proves  a 
delight  to  the  left-handed  child,  who  for  the 
joy  of  using  his  left  hand  again,  will  plod 
patiently  across  with  the  right.  The  fat  little 
hands  soon  learn  to  grasp  the  large  needle, 
and  the  nerves  and  muscles  of  both  hand  and 
arm  are  strengthened  by  daily  use.  Both 
hand  and  eye  are  trained  in  accuracy,  and 
the  training  in  patience,  perseverance,  indus- 
try, economy  in  the  use  of  materials,  percep- 
tion, concentration,  dexterity,  and  self-reli- 
ance cannot  be  overestimated.  The  heart, 
too,  has  its  part  in  the  joy  of  giving  to  others, 
for  the  children  are  encouraged  to  make 
little  gifts  for  the  home.  A  consciousness 
of  power  comes,  also,  with  experience ;  and  a 


sense  of  self-respect  arises  when  the  child 
realizes  that  he  is  of  some  use  in  the  world. 

Lois  Bates,  in  her  "  Kindergarten  Guide," 
says  that  "in  the  manufacturing  districts  of 
England  great  numbers  of  the  children  who 
pass  through  the  elementary  schools  are  em- 
ployed in  mills  where  weaving  is  carried  on, 
or  enter  textile  schools  to  learn  designing 
in  cloth.  If  this  occupation  of  mat-weaving 
could  be  continued  until  the  children  had  a 
thorough  knowledge  of  its  principles,  how 
much  intelligence  might  be  brought  to  bear 
on  the  actual  weaving  and  how  much  more 
pleasure  might  the  worker  draw  from  labor 
that  is  often  looked  upon  as  so  much  me- 
chanical drudgery ! "  The  keynote  for  this 
is  the  thorough  knowledge  which  is  necessary, 
whether  or  not  our  children  are  to  enter 
textile  schools.  Whatever  they  do,  let  them 
do  it  thoroughly.  It  should  always  be  a 
question  of  quality,  not  quantity. 

For  this  reason  I  have  taken  up,  quite  at 
length,  the  subject  of  first  steps  in  weaving, 
believing  that  children  should  be  kept  at 
simple  weaving  until  they  understand  the 
principles  thoroughly.  The  felt  and  paper 
mats  prepare  the  way  for  loom-weaving;  the 
free  paper  weaving,  and  the  slats  and  splints 
for  basketry.  A  few  suggestions  on  the  use 


Knowledge 
of 

principles 
necessary 


Simple 
weaving 
the  first 
essential 


Mats  as  a 
prepara- 
tion for 
loom 
weaving 


HAND-LOOM  WEAVING 


Slat 

interlac- 
ing and 
splint 
ivork  lead 
to 
basketry 


'•Devoted- 
ness  to 
duty  " 


of  the  slats  and  splints  have  been  given  for 
two  reasons:  First,  for  the  training  which 
they  afford  in  dexterity  and  great  delicacy  of 
touch,  to  say  nothing  of  exemplary  patience ; 
and  second,  because  the  preliminary  training 
for  basketry  should  be  given  in  the  lower 
primary  grades.  The  time  necessary  to  train 
clumsy  fingers  can  hardly  be  taken  from  the 
regular  work  in  grades  where  basketry  is  a 
prescribed  course. 

"  Skill  in  the  fundamental  methods  of 
weaving  is  essential  even  as  the  fingers  must 
be  trained  in  music  before  the  soul  of  the 
musician  can  find  its  expression.  Make  good 
baskets  first,  simple  in  shape,  strong  in  tex- 
ture, suited  to  the  purpose  for  which  they 
are  intended ;  unconsciously  they  will  grow 
beautiful.  The  most  intricate  basket  will 
fail  in  its  purpose  if  the  joinings  are  careless 
or  flaws  in  workmanship  permitted.  If 
originality  is  within  the  weaver,  it  will  find 
its  expression,  once  the  principles  of  weaving 
are  second  nature."  (C.  S.  Coles.}  This  is  also 
true  of  rug  and  mat  weaving,  for  the  aim  of 
all  training  should  be  to  bring  out  the  best 
there  is  in  a  child. 

"  The  longer  on  this  earth  we  live 

And  weigh  the  various  qualities  of  men, 

The  more  we  feel  the  high,  stern-featured  beauty 

Of  plain  devotedness  to  duty; 


A    CHA  T  ON  IVEA  VING 


Steadfast  and  still,  nor  paid  with  mortal  praise, 

But  finding  amplest  recompense 

For  life's  ungarlanded  expense 

In  work  done  squarely  and  unwasted  days." 

—James  Russell  Lowell. 

The  "  Kraus-Boelte  Guide  "  has  some  good 
suggestions  with  regard  to  the  value  of  paper 
mat  weaving,  in  number  training,  and  for 
following  certain  formulas  which  will  lead 
ultimately  to  invention.  Mme.  Kraus-Boelte 
says:  "Weaving  leads  to  independent  effort 
and  offers  the  greatest  scope  for  future  tech- 
nical work,  for  it  lays  the  foundation  for 
designing.  Even  though  it  may  not  fan 
into  flame  a  latent  spark  of  genius,  this 
means  of  occupation  at  least  tends  to  show 
the  value  of  honest  labor."  The  child  not 
only  recognizes  the  value  in  honest  labor, 
but  his  sympathy  with  all  labor  is  aroused 
through  his  own  efforts  and  through  the 
stories  told  of  weavers  in  all  lands.  He 
realizes,  also,  although  in  a  limited  way,  the 
interdependence  of  the  whole  world.  If  the 
sun  did  not  shine,  and  the  rain  fall,  there 
would  be  no  grass.  If  there  were  no  grass, 
what  would  the  sheep  do?  If  the  sheep  did 
not  give  any  wool,  what  would  the  weaver 
do?  If  the  weaver  could  not  weave,  what 
would  we  do  for  clothes?  Little  children 
are  always  delighted  to  go  back  to  the 


Weaving 
the  foun- 
dation for 
designing 


Honest 
work 
begets 
sympathy 
with  labor 


Inter- 
dependence 
in  life 


26 


HAND-LOOM  IV E A  VING 


Some 
difficulties 


A  bit  of 
experience 


One 
solution 


beginning  of  things.  Oh,  the  joy  of  looking 
back  on  one's  school  days !  As  Friedrich 
Richter  has  truly  said,  "  Recollection  is  the 
only  paradise  from  which  no  man  can  be 
driven." 

One  important  thought  in  this  whole  sub- 
ject is  that  the  work  should  be  so  arranged 
as  not  to  add  any  additional  burden  to  the 
already  crowded  life  of  the  teacher.  It  is  a 
lamentable  fact  that  we  have  overcrowded 
rooms,  and  only  one  pair  of  hands  to  do  all 
that  has  to  be  done.  Perhaps  a  bit  of  the 
author's  own  experience  will  be  of  some 
assistance.  After  looking  the  subject 
squarely  in  the  face  and  considering  it  on 
all  sides,  the  writer  came  to  the  conclusion 
that  it  would  be  an  impossibility  to  do  all 
the  work  alone.  So  some  helpers  were 
called  from  the  pupils  of  the  higher  grades, 
and  the  request  met  such  a  hearty  response 
that  it  was  wondered  why  it  had  not  been 
tried  before.  As  it  is  now  arranged  the 
older  girls  come  in  before  school  and  at 
recess.  They  wind  worsted,  correct  any 
knitting  that  may  be  wrong,  start  new  spools, 
string  looms,  cut  material  for  rugs,  water 
plants,  keep  the  closets  where  the  materials 
are  stored  in  order,  and  do  many  other  things 
which  relieve  in  a  great  measure  the  burden 


A   CHA  T  ON  WEA  VING 


of  detail.  When  it  is  possible,  the  teacher 
should  choose  girls  who  have  a  sister  or 
brother  in  the  room,  because  their  interest  is 
stronger  and  more  lasting.  Of  course,  some 
training  is  necessary,  but  the  result  compen- 
sates for  the  trouble.  Sometimes  the  work 
in  other  grades  can  be  so  planned  that  the 
children  can  make  paper  mats,  etc.,  for  use 
in  the  first  grade.  The  beautiful  community 
feeling  begun  in  the  kindergarten  can  thus 
be  continued  in  the  public  school.  The  time 
will  come  when  boys  and  girls  in  the  higher 
grades  will  design  patterns  for  the  younger 
children  to  weave. 

Take  plenty  of  time  in  the  first  part  of 
the  year  to  teach  the  children  to  work  well. 
"Time  is  nothing  when  power  is  growing." 
There  are  some  children  who  learn  faster 
than  others  and  they  are  always  delighted  to 
go  about  the  room  and  help  the  slower  ones.  It 
will  sometimes  be  found  that  they  know  just 
how  to  explain  a  difficult  point  —  perhaps  be- 
cause they  have  just  conquered  it  themselves. 

No  work  has  been  specified  as  suited  to 
any  particular  grade.  It  should  depend 
entirely  upon  the  children.  While,  for  con- 
venience, courses  in  industrial  training  are 
planned,  advising  certain  lines  of  work 
which  experience  has  proved  the  best  for 


Commu- 
nity 
feeling 
continued 


Nature 
knows  no 
hurry 


28 


HAND-LOOM  WE  A  VING 


A  child's 
work 
should  be 
suited  to 
his  capac- 
ity, with- 
out regard 
to  grade 


Train  the 
individual 


Value  of 

hand 

training 


first,  second,  or  third  grade,  there  are  in 
every  school,  certain  children  who  have 
more  manual  than  mental  ability.  These 
are  left  behind  as  the  more  favored  ones  are 
promoted,  and  because  a  certain  course  has 
been  recommended  for  that  particular  grade, 
they  must,  perforce,  do  it  all  over  again. 
Instead  of  bringing  out  the  best  in  these  less 
fortunate  ones,  and  developing-  and  strength- 
ening their  minds  through  the  hand  by 
offering  something  not  only  new  and  inter- 
esting, but  which  presents  new  difficulties  to 
conquer,  we  stunt  their  growth  by  giving 
them  the  same  baby  work  term  after  term. 
It  is  time  that  earnest  teachers  considered 
this  important  question.  Let  us  give  up 
training  the  mass  and  begin  to  train  the 
individual.  Through  our  interest  in  them 
they  may  find  their  life  work.  If  a  child  in 
the  first  grade  is  prepared  to  do  any  indus- 
trial work  of  a  higher  grade,  no  matter  how 
dull  he  may  otherwise  be,  by  all  means  let 
him  do  it.  It  is  his  way  of  expressing  what 
lies  within  him.  Not  only  will  his  hand  and 
mind  be  trained  thereby,  but  his  heart  will 
be  filled  with  the  joy  that  always  comes 
through  achievement. 

Hand  training  has  been  found  to  be  of 
great  value  in  all  other  work.     The  children 


A   CHA  T  ON  IV E A  VING 


29 


are  brighter,  and  seem  better  able  to  grasp 
an  idea.  The  slow  children  are  also  stimu- 
lated, and  in  doing  the  simple  work  well  are 
preparing  for  that  which  is  more  difficult. 
Impression  and  expression  should  go  hand 
in  hand.  We  know  nothing  of  "the  bad 
boy,"  now  that  we  have  found  something  for 
his  restless  fingers  to  do.  "The  habit  of 
methodical  work  is  the  basis  of  all  ethics." 
In  teaching  children  to  do  their  best,  we  are 
training  citizens.  Some  one  has  facetiously 
remarked  that,  "  In  the  making  of  a  good 
citizen  it  is  necessary  to  catch  your  citizen 
early."  We  cannot  get  hold  of  the  anarchists, 
but  we  can  get  hold  of  their  children,  and  in 
the  training  of  them  to  work  lies  their  salva- 
tion. Formation  is  better  than  reformation. 
Verily,  there  is  nothing  new  under  the 
sun.  We  hie  ourselves  to  the  summer 
schools,  and  return  laden  with  new  ideas  — 
when  lo !  it  dawns  upon  us  that  all  we  have 
done  during  the  hot  days  has  been  to  make 
a  new  application  of  what  Froebel  taught 
the  world  before  we  were  born.  So  in  this 
introduction,  an  old  story  has  been  retold, 
but  I  hope  that  it  will  come  with  a  new 
meaning  to  my  fellow  teachers. 


If  you 
would 
develop 
morality 
in  a  child, 
train  linn 
to  voork 


Making 
citizens 


Forma- 
tion, not 
reforma- 
tion 


New  appli- 
cations 
for  old 
teachings 


HAND-LOOM  WE  A  VING 


Felt  mats 
and  slats 


FIRST  STEPS   IN  WEAVING 


T^HE  principles  of  weaving  are  very  easily 
learned  with  felt  mats  and  slats.  One- 
half  a  yard  of  felt  two  yards  wide  will  make 
thirty-six  mats  six  inches  square.  These  are 
very  durable,  and  can  be  used  year  after 
year,  if  protected  from  moth  during  the 
summer.  Some  prefer  leather  or  oil-cloth 
mats,  backed  with  heavy  unbleached  muslin, 
but  they  are  more  expensive,  and  not  so 
pleasant  to  work  with  as  the  soft  wool.  The 
slats,  which  should  be  at  least  one-half  an  inch 
wide,  can  be  obtained  at  any  kindergarten 
supply  store.  Buy  the  uncolored  slats  and 
dye  them  yourself.  Dark  green  mats,  woven 
with  deep  red  slats,  are  pretty.  The  slats  are 
easier  to  handle  if  they  are  soaked  and  cut 
the  required  length  before  dyeing.  When 
the  six-inch  mats  are  cut,  allow  a  three-quar- 
ter-inch margin  on  all  sides.  Measure  the 
mat  for  one-half-inch  strips,  of  which  there 
will  be  nine,  and  mark  by  snapping  a  chalked 
string  upon  the  mat.  Double  it  with  chalked 
lines  outside  and  commence  to  cut  from  the 


FIRST  STEPS  IN  WEA  VING 


center ;  then  open  and  finish  cutting  to  the 
margin.  It  would  be  better  for  very  little 
children  if  the  strips  and  slats  could  be  one 
inch  wide.  In  this  case  the  mats  would,  of 
course,  be  larger,  and  it  might  be  necessary 
to  have  the  slats  made  to  order.  The  slats 
should  be  kept  in  little  bundles  containing 
the  required  number,  and  secured  by  rubber 
bands.  If  one  could  have  plenty  of  time 
and  material  it  would  be  a  good  plan  to  have 
several  sets  of  mats  of  different  sizes,  so  that 
the  children  would  not  always  be  confined 
to  one  number  and  its  combinations  in  a 
certain  set  of  patterns  —  in  this  case,  nine  — 
but  have  the  pleasure  which  comes  from 
variety.  Demonstration  cards  and  diagrams 
for  weaving  can  be  obtained  at  the  kinder- 
garten and  school-supply  stores.  An  illus- 
tration of  an  excellent  demonstration  frame 
can  be  seen  in  the  "  Kindergarten  Guide,"  by 
Lois  Bates.  Sample  mats  can  be  woven  by 
the  older  children  from  the  designs  in  any 
of  the  "Guides,"  and  given  to  the  smaller 
children  to  copy. 

When  the  purpose  of  these  practice  mats 
is  understood  there  can  be  no  objection  to 
them  on  the  ground  that  the  work  is  de- 
stroyed by  pulling  out  the  slats  each  time. 
It  is  not  an  unusual  thing  to  see  in  schools, 


Demon- 
stration 
cards  and 
diagrams 


Purpose 
of  practice 
mats 


HAND-LOOM  WE  A  VING 


Do  not 

deceive  the 

child 


Long  slat 
weaving 


Paper 
mats 


and  even  in  kindergartens,  faithful  and  con- 
scientious teachers  remaining  after  hours  to 
pull  out  the  slats,  on  the  principle,  perhaps, 
that  what  the  children  do  not  see  will  not 
affect  their  development,  and  the  innocent 
little  bundles  are  given  out  again  on  the 
morrow,  only  to  undergo  the  same  experi- 
ence at  night.  One  wonders  sometimes  if 
this  is  possibly  within  the  definition  of  de- 
ception. "  We  mount  to  the  summit,  round 
by  round,"  and  when  the  children  under- 
stand that  in  doing  the  work  with  the  slats 
well,  they  are  only  learning  how,  and  that 
each  successful  attempt  brings  the  delight- 
ful day  nearer  when  they  may  have  a  loom 
to  work  upon,  they  are  perfectly  satisfied. 

When  the  children  have  learned  to  weave 
the  small  mats,  further  practice  can  be  had 
by  weaving  long  slats  into  a  warp  of  cord  on 
the  loom.  It  is  better  to  conquer  the  mys- 
tery of  "  over  and  under  "  in  this  way  than  to 
undo  the  work  and  wear  out  the  material 
after  making  a  mistake. 

Many  teachers  prefer  to  make  the  prac- 
tice mats  of  paper  because  they  are  cheaper. 
Heavy  paper,  in  desirable  colors,  can  be 
obtained  at  the  wholesale  paper  houses,  and 
for  a  small  sum  can  be  cut  in  squares  of 
any  required  size.  Mats  can  be  made  more 


FIRST  STEPS  IN  WE  A  VING 


33 


durable  by  pasting  them  on  heavy  muslin 
before  cutting.  In  many  schools  children 
in  grades  above  the  entering  room  prepare 
their  own  mats  by  measuring  with  tablets  or 
rulers  and  then  drawing  and  cutting  on  the 
lines.  When  they  have  learned  to  do  them 
well,  let  each  child  make  one  for  the  enter- 
ing room.  Nothing  strengthens  the  com- 
munity feeling  so  much  in  a  school  as  to 
encourage  the  older  pupils  to  help  the 
younger. 

The  mat-weaving,  as  it  is  done  in  the  kin- 
dergarten, is  very  beautiful  and  fascinating 
work.  The  mats  can  be  obtained  in  any  size 
and  any  width  of  strips  at  the  supply  stores. 
The  weaving  is  done  with  a  long  steel  needle 
which  has  a  spring  at  one  end  to  hold  the 
strip.  After  preliminary  work  with  the  felt 
mats  and  slats  the  children  find  themselves 
able  to  weave  quite  independently,  particu- 
larly if  demonstration  cards  or  sample  mats 
are  placed  before  the  class.  An  infinite 
variety  of  patterns,  which  later  will  be  useful 
in  wool-weaving,  can  be  found  in  the  "  Kin- 
dergarten Guides."  In  weaving  patterns 
having  a  center,  it  is  better  to  weave  two 
strips  at  once,  pushing  one  to  the  top  and 
one  to  the  bottom  of  the  mat.  The  old  num- 
bers of  the  Godey  and  Peterson  magazines 


Mat- 
weaving 
in  f/ie 
kinder- 
garten 


34 


HAND-LOOM  IV E A  VING 


Gifts 


Interlac- 
ing slats 


have  patterns  for  Berlin  wool  and  bead  work 
which  can  be  used  for  the  paper  mats  with 
good  effect.  Mrs.  Kate  Douglas  Wiggin 
(Mrs.  Riggs)  has  some  good  suggestions  for 
invention  in  weaving,  in  her  "  Republic  of 
Childhood "  (Occupations).  The  value  of 
weaving  in  number  work  is  also  admirably 
set  forth  in  this  book. 

At  Christmas  time  many  charming  little 
gifts  can  be  made  of  these  mats.  Sachet 
cases  made  of  a  six  or  eight  inch  square,  with 
four  corners  folded  to  the  center,  are  attract- 
ive. Inclose  a  square  of  wadding,  in  which 
a  pinch  of  heliotrope  or  white  rose  perfume 
powder  has  been  hidden,  and  fasten  the  cor- 
ners together  with  a  scrap  picture  of  old 
Santa  Claus. 

Slat  work  is  useful  in  learning  the  funda- 
mental principles  of  weaving,  although  this 
work  is  more  closely  related  to  basket  than 
to  rug-weaving.  It  is  an  excellent  prepara- 
tion for  the  free-paper  weaving,  and  is  also 
a  step  toward  basket  work. 

In  interlacing  slats  the  mystery  of  "over 
and  under"  is  solved  and  the  dependence  of 
one  slat  upon  another  in  making  a  perfect 
whole  is  shown  in  a  forcible  way,  particularly 
when  the  form  falls  to  pieces  in  the  attempt 
to  lift  it  from  the  table.  Edward  Wiebe 


FIRST  STEPS  IN  WE  A  VING 


35 


says  in  his  "Paradise  of  Childhood":  "It  was 
the  one  slat  which,  owing  to  its  dereliction  in 
performing  its  duty,  destroyed  the  figure  and 
prevented  all  the  other  slats  from  perform- 
ing theirs."  One  experience  of  this  kind 
will  teach  more  than  a  thousand  precepts. 
The  geometrical  forms  learned  in  the  sense- 
training  lessons  can  be  reproduced  with  the 
slats  and  will  thus  be  impressed  upon  the 
mind  during  the  period  of  busy  work  at 
the  desk.  A  series  of  beautiful  designs  is 
published  by  E.  Steiger,  New  York.  Many 
designs  may  be  grouped  for  decoration,  and 
single  symmetrical  figures  can  be  mounted 
upon  heavy  paper. 

Free-paper  weaving  requires  quite  a  little 
skill  of  hand  and  a  great  deal  of  patience 
before  the  child  can  achieve  a  successful 
result.  Perhaps  a  few  words  regarding  it, 
and  information  about  a  simple  sequence  of 
paper  patterns,  will  not  be  out  of  place,  since 
so  many  are  "to-day  taking  it  up.  Strips  of 
manilla  paper  forty  inches  long  and  one  inch 
wide  are  used.  These  are  cut  into  strips 
eight  inches,  sixteen  inches,  twenty  inches, 
and  twenty-four  inches  in  length.  For  the 
first  pattern  of  the  sequence  take  four  strips 
eight  inches  long  and  double  each  one.  Hold 
two  of  them  side  by  side  in  the  left  hand,  so 


Free- 
paper 
weaving 


Sequence 


HAND- LOOM   WE  A  VTNG 


Sequence 
in  paper 
weaving 


that  the  open  ends  of  the  outer  strip  are  at 
the  top  while  those  of  the  other  are  at  the 
bottom.  With  the  right  hand  inclose  the 
first  strip  in  the  left  hand  with  one  of  the 
remaining  double  strips  and  pass  the  ends  of 
the  latter  between  the  two  ends  of  the  second 
strip.  Then  hold  the  work  in  the  right  hand 


and  proceed  in  the  same  way  with  the  left 
hand.  When  both  strips  are  in,  draw  them 
tight  and  they  will  be  firmly  woven.  The 
ends  can  be  cut  in  any  way  desired.  These 
little  forms  can  be  used  for  bookmarks.  They 
are  very  attractive  when  made  in  two  tones 
of  one  color. 

The  second  pattern  of  the   sequence   is 


FIRST  STEPS  IN  IV E A  VING 


37 


made  with  sixteen-inch  strips.  The  first 
part  is  woven  like  the  bookmark.  Four 
double  strips  now  project  from  the  square. 
Begin  at  the  bottom  and  fold  back  the  upper 
one  of  each  of  these  double  strips.  As  you 
do  this  you  will  find  that  you  are  weaving 
another  square  on  top  of  the  first  one.  To 
secure  the  last  strip  pass  it  under  the  square 
next  to  it  and  pull  it  through.  You  will  now 
have  eight  single  strips,  two  on  each  side. 
To  form  these  into  points  for  a  star  proceed 
as  follows :  Begin  with  the  right-hand  strip 
at  the  top  and  number  all  the  strips  from 
one  to  eight.  Fold  number  one  back  toward 
the  right,  making  at  the  fold  a  right-angled 
triangle.  Fold  the  strip  down  again  towards 
you,  making  another  triangle  which  is  folded 
back  to  the  left  on  the  first  one.  Slip  the 
end  of  the  strip  under  the  square  next  to  it 
and  cut  it  off.  Proceed  in  the  same  way  with 
three,  five,  and  seven.  Then  turn  the  form 
over  and  fold  the  strips  two,  four,  six,  and 
eight  in  the  same  way,  cutting  off  the  strips 
when  finished.  Many  of  these  stars  can  be 
joined  to  make  mats,  baskets,  picture  frames, 
etc.  They  are  pretty  when  made  of  gilt  or 
colored  paper  for  Christmas  decorations. 

Pattern    number    three,  a    bookmark,  is 
made  like  the  first,  except  that  eight  strips  of 


Sequence 
weaving 


HAND-LOOM  WE  A  VING 


Sequence 
weaving 


sixteen-inch  length  are  used  and  the  strips 
woven  at  right  and  left  are  finished  as  di- 
rected for  the  mat.  Number  four  is  another 
form  like  this,  with  the  long  ends  back  and 
front  slipped  through  squares  to  form  a 
napkin  ring.  Number  five  is  a  six-inch  mat 
made  of  twelve  twenty-inch  strips.  Weave 
six  double  strips  left  and  right  into  two 
strips  and  then  add  four  to  make  the  square. 
To  finish  the  edge  cut  off  the  under  one  of 
each  double  strip,  fold  the  upper  one  over  it 
and  then  slip  it  under  the  square  which 
comes  next,  cutting  it  off  even.  Strips  of 
felt  can  be  woven  in  this  way  for  table  mats 
or  holders. 

The  sixth  pattern  is  a  pencil  holder  or 
a  basket,  as  you  may  wish.  It  may  be  round 
or  square  on  the  bottom  —  in  the  latter  case 
the  sides  are  creased  to  form  a  square  prism. 
Double  twelve  twenty-four-inch  strips,  weave 
eight  right  and  left  into  four;  finish  one 
long  edge  for  the  top  of  the  basket  as  you 
did  the  edge  for  the  mat.  Bend  in  the  form 
of  a  ring  and  slip  the  ends  as  you  did  for  the 
napkin  ring,  cutting  them  off.  To  make  the 
bottom,  crease  all  the  projecting  ends  in  and 
weave  together  as  you  did  the  second  part  of 
number  two  only  double,  and  fasten  the 
strips  on  the  outside  of  the  basket.  This 


FIRST  STEPS  IN  WEA  VING 


39 


makes  a  good  waste  basket  for  the  doll 
house.  With  a  cover  it  would  make  a  fine 
hamper  for  Miss  Dolly's  clothes. 

This  free  weaving  leads  directly  to  weav- 
ing with  splints.  These  are  much  thinner 
than  slats  and  can  be  obtained  at  the  kinder- 
garten supply  stores.  Many  beautiful  things 
can  be  made  with  splints.  They  are  easily 

•T    ^nmmfm^^l 

w  ^i 


dyed  at  home  and  many  pleasing  combina- 
tions of  color  can  be  obtained  in  this  way. 
Celluloid  strips  make  beautiful  boxes  and 
baskets. 

A  delightful  exercise  with  the  small  chil- 
dren is  the  making  of  a  "  Jacob's  ladder,"  or 
"Pussy-cat  stairs,"  as  they  are  often  called. 
Fold  a  forty-inch  strip  of  paper,  one  inch 
wide,  so  as  to  form  a  right-angle  in  the 
middle.  Or,  if  a  longer  ladder  be  desired, 


Weaving 

with 

splints 


Examples 
of  splint 
work 


"Jacob's 
ladder  " 


HAND-LOOI\f  IV E A  VING 


A  skirt  for 
winter 


place  one  end  of  a 
forty-inch  strip  over 
the  end  of  another  one, 
at  right  angles,  and 
fasten  with  a  drop  of 
paste.  Fold  from  left 
to  right,  one  strip  upon 
the  other,  until  you 
come  to  the  end,  then 
pull  out,  and  behold 
the  stairs !  The  fat  and 
clumsy 
little 
fingers 
will  work 
patiently 

a  long  time  to  achieve  this 

charming  result,  and  much 

skill  of  hand  will  be  gained 

in  the  doing.    Use  colored 

paper   for   this   whenever 

possible. 

The  illustrations  on  this 

and  on  the  following  page 

show  some  fascinating  work 

for  little  hands.    The  looms 

are   made   of  heavy  paste- 
board   cut   in   notches,    in 

which  the  warp  of  the  same 


FIRST  STEPS  IN  WE  A  V1NG 


material  as  the  woof  is  strung.  Care  should 
be  taken  to  keep  the  warp  straight,  and  to 
finish  all  the  edges  well.  The  articles  in 
the  illustrations  were  made  by  first-grade 
children  in  the  Ericcson  School,  St.  Paul, 
Minn, 


A  sweater  for  the  doll 


HAND-LOOM  IV E A  V1NG 


Warp  of 

three 

widths 


Kinder- 
garten 
patterns 


METHODS  OF  STRINGING  WARP 

'"PHE  adjustable  loom  can  be  strung  with 
warp  of  three  widths,  one-half  inch, 
three-eighths  inch,  and  three-sixteenths  inch, 
thus  giving  opportunity  for  a  variety  of 
materials. 

For  heavy  rags,  candle  wicking,  etc.,  wind 
the  warp  strings  around  three  teeth  in  the 
head  and  foot  pieces.  This  will  give  a  warp 
of  one-half  inch  —  that  is,  one-half  inch  from 
one  string  to  the  other. 

For  silk,  silkoline,  finer  rags,  carpet  ravel- 
ings,  double  wool,  etc.,  wind  the  warp  strings 
around  two  teeth,  thus  making  a  warp  of 
three-eighths  inches. 

For  double  wool,  worsted,  rope  silk,  che- 
nille, or  raffia,  where  one  wishes  to  reproduce 
kindergarten  designs,  as  in  paper-weaving, 
place  the  warp  strings  around  one  tooth  only. 
This  makes  a  close  warp  of  three-sixteenths 
inch,  which  helps  to  form  the  design  with 
the  woof  threads.  In  this  case  the  warp 
should  be  of  the  same  material  as  the  woof. 
In  kindergarten  patterns  the  woof  threads 


METHODS  OF  STRINGING   WARP 


43 


determine  the  color  effect.  It  is  better  to 
have  the  children  weave  the  pattern  first  with 
practice  mats  and  slats,  particularly  if  they 
have  never  had  experience  in  the  kindergar- 
ten. Suggestions  for  weaving  kindergarten 
designs  are  given  under  the  head  of  Raffia. 

For  a  plaid  effect,  string  the  warp  at  reg- 
ular intervals,  with  different  colors.  Then 
weave  the  same  colors  at  equal  intervals  to 
form  the  plaid.  (See  illustrations,  pages  92, 
98,  and  101.)  Shawls,  carriage  blankets,  etc., 
woven  in  this  way  are  very  attractive. 

A  striped  warp  is  strung  in  the  same  way. 
(See  illustrations,  pages  101  and  117.)  The 
stripes  could  be  continued  through  the  mat, 
if  desired,  by  weaving  only  one  color  in  the 
woof.  By  weaving  two  colors  squares  are 
obtained  such  as  those  seen  in  the  corners. 

For  weaving  with  carpet  ravelings  or 
rags,  and  sometimes  double  wool,  where  a 
plain  effect  is  desired,  the  warp  should  be  of 
common  twine,  as  near  the  color  of  the  work 
as  possible.  Carpet  thread  is  good,  especially 
for  the  double  warp  in  Turkish  rugs.  Balls 
of  warp  string  can  be  obtained  at  department 
stores.  Oriental  cord  comes  in  several  col- 
ors, and  can  be  had  at  a  few  cents  a  ball  at 
the  notion  and  stationery  counters  in  depart- 
ment stores. 


HAND-LOOM  WEAVING 


The  warp  should  always  be  one  continu- 
ous string,  and  several  inches  should  be  left 
at  each  end  in  order  to  fasten  securely  when 
the  work  is  finished.  If  preferred,  the  warp 
ends  can  be  fastened  before  the  weaving  is 
commenced.  Care  should  be  taken  to  place 
the  first  and  last  strings  of  the  warp  directly 
over  the  rods,  and,  in  weaving,  to  pass  the 
woof  threads  entirely  around  the  rods  and 
strings  to  insure  straight  edges.  The  ends  of 
wool  warp  threads  should  be  wound  in  and 
out  of  the  notches  to  the  right  and  left  of 
rods,  to  fasten  them  until  the  weaving  is 
finished.  It  sometimes  happens  that  little 
children,  and  more  especially  those  who  are 
blind,  pull  up  the  warp  strings  when  near  the 
end  of  the  work.  In  such  cases  it  is  a  good 
plan  to  pass  a  rubber  band  over  the  warp 
strings  at  the  top  of  the  loom  and  behind  the 
bars,  back  of  the  head  piece,  making  it  set  up 
close  by  putting  it  around  one  tooth  at  each 
end.  In  this  way  the  warp  strings  cannot 
possibly  slip  out  of  the  notches. 

Some  teachers  splice  the  warp  with  a 
weaver's  knot,  an  illustration  of  which  can  be 
seen  in  any  large  dictionary.  The  continu- 
ous string  is  to  be  preferred,  however,  as 
experience  has  proved  that  even  a  weaver's 
knot  will  sometimes  fail  to  stand  the  stress 


METHODS  OF  STRINGING   WARP 


45 


of  weaving.  It  is  very  difficult  to  splice  a 
warp  of  raffia.  It  is  better  to  knot  the  warp 
threads  in  pairs  (see  directions,  page  46),  leav- 
ing two  or  three  inches  beyond  the  head  and 
foot.  These  ends  may  be  used  for  a  fringe  by 
tearing  very  fine,  or  they  may  be  run  down 
in  the  woven  part  with  a  darning  needle,  as 
rattan  is  run  down  in  basket  work. 

When  the  weaving  is  done  and  the  mat 
lifted  from  the  loom,  the  ends  of  the  wool 
warp  strings  can  be  run  in  along  the  sides 
with  a  tape  needle.  If  the  warp  be  of  twine, 
it  is  better  to  tie  the  end  to  the  next  warp 
string  and  allow  the  fringe  to  cover  the 
knot ;  or,  as  in  the  case  of  silkolinc,  the  woof 
strips  can  be  caught  over  the  warp  strings 
with  silk  of  the  same  color  in  order  to  hide 
them.  Only  experience  can  teach  the  tight- 
ness with  which  a  warp  should  be  strung. 
Worsted,  carpet  thread  and  twine  will  stretch 
as  the  work  progresses,  and  raffia  will  not. 
If  the  warp  be  too  loose  the  work  will  be 
uneven  and  the  strings  will  slip  out  of  the 
notches.  If  it  be  too  tight  it  will  be  difficult 
to  finish  the  last  two  or  three  inches  and  the 
woof  threads  will  look  crowded.  The  best 
test  is  to  place  the  hand  upon  the  warp 
before  commencing  to  weave.  If  it  feels 
firm  and  does  not  push  down  too  easily,  but 


A  raffia 
warp 


To  fasten 
wool  or 
silk  warp 
strings 


Wlien 
the  warp 
is  correct 


46 


HAND-LOOM  IV E A  VIXG 


To  string 

a  war  p  for 

fringe 


To  string 

the  warp 

threads  in 

pairs 


springs  slightly  beneath  the  hand,  it  is  prob- 
ably correct. 

Where  the  warp  is  of  the  same  material 
as  the  woof  and  it  is  desired  to  extend  it  to 
form  a  fringe,  it  can  be  done  in  the  follow- 
ing manner:  After  the  loom  is  adjusted  for 
the  size  required,  cut  the  warp  strings  so  as 
to  allow  two  or  three  inches  beyond  the 
head  and  foot  pieces.  If  you  intend  to  knot 
the  fringe  in  some  fanciful  way  after  the 
weaving  is  finished,  allow  four  or  five  inches. 
Take  two  threads,  knot  so  as  to  leave  the 
required  length  for  fringe  below  the  foot 
piece,  then  pass  around  one  or  two  teeth,  as 
the  case  may  be,  draw  tightly  to  the  head 
piece  and  knot  firmly  on  the  upper  side,  leav- 
ing a  fringe  of  the  same  length  there.  Knot 
the  strings  in  pairs  in  this  way  until  the 
whole  warp  is  strung.  It  will  be  noticed 
that  the  rods  are  placed  beneath  the  notches 
of  odd  numbers.  In  knotting  warp  strings 
in  pairs  it  will  be  found  necessary,  when  the 
last  tooth  is  reached,  to  do  one  of  two  things 
—  either  allow  one  string  to  lie  beyond  the 
rod,  or,  having  strung  the  warp  within  one 
tooth  of  the  rod,  to  start  the  next  string  in 
the  same  notch,  bringing  the  two  strings 
together.  This  will  bring  one  string  on  top 
of  the  rod  and  none  beyond.  In  the  first 


METHODS  OF  STRINGING   WARP 


47 


case,  the  string  beyond  the  rod  must  be 
taken  up  in  weaving  with  the  one  on  top  of 
the  rod.  Experience  has  proved  the  second 
method  to  be  the  better  one. 

Kiz-Kilim  rugs  have  perforated  or  open- 
work patterns.  To  produce  this  effect  string 
a  double  warp  through  every  notch  in  the  foot 
and  head  pieces;  that  is,  use  two  strings  in 
each  notch,  tying  in  pairs 
for  fringe  as  before.  Use 
a  brownish  white  carpet 
thread.  With  strong  black 
thread  string  through 
every  other  notch  to  out- 
line perpendicular  sides 
of  squares  in  the  pattern. 
Your  warp  will  be  strung 
three-sixteenths  inch,  but  the  black  threads 
will  be  three-eighths  inch.  This  will  enable 
you  to  keep  the  patterns  straight  as  the 
work  progresses. 

In  drawing  designs  for  Turkish  rugs, 
where  the  pattern  is  to  be  placed  under  the 
warp,  it  is  better  to  make  a  squared  paper 
first.  Lay  the  head  piece  of  the  loom  upon 
unlined  paper.  Place  a  dot  at  every  other 
notch.  Draw  perpendicular  lines  first,  then 
dot  for  horizontal  lines.  The  result  will  be 
a  foundation  to  fit  your  loom.  If  the  squared 


Double 
warp  for 
Turkish 
rugs,  etc., 
with 
fringe 


A  Kiz- 
Kilim  rug 
pattern 


Patterns 
for 

Turkish 
rugs 


HAND-LOOM  WE  A  VING 


Patterns 

for  Navajo 
blankets 


To  string 
a  continu- 
ous warp 
for  long 
strips 


paper  of  the  kindergarten  be  used  the 
squares  will  be  either  too  large  or  too  small 
to  correspond  with  the  notches  in  the  loom. 
It  will  be  found  very  easy  to  transfer  a 
pattern  from  a  rug  to  the  paper.  Fasten  the 
pattern  under  the  warp  by  overhanding  to 
the  rods,  taking  care  to  have  the  black 
strings  directly  over  the  perpendicular  lines 
in  the  pattern. 

Patterns  for  Navajo  blankets  are  usually 
triangular.  Draw  on  unlined  paper  and 
fasten  under  the  warp  as  before. 

Rugs  and  similar  articles  may  be  made  of 
any  length  by  stringing  a  continuous  warp. 
After  the  length  has  been  decided  upon,  cut 
the  warp  strings  twice  as  long.  Place  the 
middle  of  one  string  around  the  first  tooth  of 
the  foot  piece  (or  two  or  three,  according  to 
the  width  of  warp  desired)  and  bring  up  the 
two  ends  firmly  to  the  first  tooth  in  the  head 
piece.  Knot  securely  and  let  the  long  ends 
extend  beyond  the  head  piece.  If  desired 
they  can  be  wound  on  spools,  or  around  the 
tops  of  the  rods,  to  prevent  tangling.  Con- 
tinue until  all  the  warp  is  strung.  Observe 
the  instructions  given  before  for  stringing 
warp  strings  in  pairs.  It  is  not  necessary  to 
weave  the  loom  full  each  time,  as  the  last 
inch  is  very  slow  work,  but  when  the  weav- 


METHODS  OF  STRINGING   WARP 


49 


ing  is  near  the  head  piece  draw  out  the  rods, 
Mft  it  from  the  notches,  pass  it  down  to  the 
foot  piece  so  that  the  part  which  was  at  the 
head  is  now  at  the  foot,  untie  the  knots  so 
that  the  work  will  lie  close  to  the  foot  piece 
and  knot  the  warp  strings  as  before  at  the 
head  piece.  This  can  be  done  as  many  times 
as  desired. 

For  afghans,  slumber  robes,  couch  covers, 
etc.,  crochet  with  plain  stitch  or  baste  on  oil- 
cloth and  weave  together  with  tape  needle, 
making  it  as  nearly  like  the  original  weaving 
as  possible.  By  studying  Turkish  rugs  and 
curtains  one  can  learn  how  to  put  strips 
together  with  a  fancy  stitch  somewhat  like 
our  feather  stitch. 

Strips  for  floor  rugs  should  be  basted  on 
oil-cloth  and  the  warp  strings  in  the  two 
edges  caught  together  at  intervals,  running 
the  connecting  thread  through  the  loops  so  as 
to  be  invisible.  Finish  the  outside  edges  by 
stitching  on  a  tape  of  the  same  color,  by 
machine. 

By  making  several  of  these  long  strips 
and  fastening  them  together  one  can  have  a 
table  cover,  afghan,  slumber  robe,  or  a  large 
rug. 

The  floor  rug  shown  in  the  illustration  on 
page  100  (\y±  yards  by  ^  yard)  is  woven  in 


Methods 
of  fasten- 
ing long- 
strips 
together 


Table 
covers, 
afghans, 
slumber 
robes,  or 
large  rugs 


HAND-LOOM   WE  A  VING 


Floor  rugs 


Fine 
weaving 


To 

produce 

a  design 

with  the 

woof 


Warp  for 
doll  towels 


strips  with  a  continuous  warp.  The  center 
strip  is  one  yard  long  and  nine  inches  wide. 
It  is  made  of  deep  cardinal  carpet  wool.  The 
strips  of  black,  nine  inches  wide  at  the  sides 
and  ends,  terminate  diagonally,  as  seen  in 
the  illustration.  The  black  diagonal  lines 
show  where  the  weaving  ends.  The  warp 
is  then  tied  and  cut  close  to  the  weaving. 
The  strips  are  to  be  sewn  or  crocheted 
together. 

For  very  fine  weaving,  where  it  is  neces- 
sary for  the  warp  threads  to  touch  each  other 
in  order  to  produce  a  design  with  the  woof, 
string  a  double  warp  in  every  notch  with  the 
same  material.  Then,  with  a  tape  needle, 
separate  the  warp  threads,  twist  one  over 
the  other  so  that  all  will  lie  side  by  side,  and 
secure  them  by  weaving  a  few  times  across 
the  loom.  By  using  this  method,  one  can 
have  a  close  warp  on  the  wooden  looms. 

In  stringing  warp  in  pairs  for  doll  towels, 
have  two  strings  on  each  bar  and  one  extend- 
ing one  notch  beyond  at  each  side.  This 
makes  a  good  fringe  for  the  edges  of  the 
towel. 


MA  TERIALS 


Silkoline 


MATERIALS 

and  figured  silkoline  should  be 
cut  in  bias  strips  one-half  inch  wide. 
Stretch  and  pull  through  the  hands  until 
both  edges  are  raveled.  When  these  strips 
are  woven,  the  rug  or  mat  will  be  reversible. 
Figured  silkolines  give  a  pretty  mottled 
effect,  especially  those  in  which  Turkish 
colors  predominate.  Rugs  having  plain  cen- 
ters and  mottled  borders  are  beautiful.  A 
full-sized  rug  requires  nearly  two  yards  of 
material. 

Strips  of  cheese  cloth  can  be  prepared  in 
the  .same  way.  Cut  them  three-fourths  inch 
wide  on  account  of  the  tendency  to  ravel. 
Serviceable  face  and  dish  cloths  can  be  made 
of  white  cheese  cloth.  Some  of  the  colored 
cheese  cloths  make  pretty  rugs.  When  a 
desirable  color  cannot  be  found,  the  white 
cloth  can  be  dyed  at  home. 

Soft  dress  linings  come  in  many  beautiful     Dress 

J  linings 

colors.  Old  pieces  may  be  utilized  by  clean- 
ing and  dyeing.  The  pieces  are  cut  in  bias 
strips,  one-half  inch  in  width. 


Cheese 
cloth 


HAND- LOOM  WEAVING 


Silk 


Candle- 
wicking 


Rope  silk, 

or 

ropetine 


Pieces  of  old  silk  can  also  be  prepared  in 
this  way.  One  can  often  obtain  new  pieces 
at  dressmaking  establishments. 

Table  mats,  wash  cloths,  and  similar  arti- 
cles can  be  made  from  candle-wicking.  For 
lamp  mats,  cushion  covers,  and  other  arti- 
cles the  material  may  be  dyed  and  woven  in 
two  colors,  or  in  two  tones  of  one  color.  A 
number  of  squares  can  be  joined  to  make 
a  hammock  pillow.  By  stringing  a  close 
warp  with  white  or  colored  wicking  and 
weaving  over  and  under  one  string  with  the 
same  material,  a  coarse  canvas  can  be  made, 
upon  which  the  children  can  cross-stitch  a 
pretty  border  and  center  piece,  or  an  all-over 
pattern  by  copying  the  kindergarten  designs, 
or  even  initials  and  monograms.  Most  of 
the  canvas  sold  at  the  stores,  even  the  old 
Java  canvas  of  our  childhood  days,  is  too  fine 
for  little  children  to  work  upon.  In  canvas 
made  of  candle-wicking  by  the  child  himself, 
the  squares  are  large,  and  to  this  there  is  the 
added  pleasure  of  the  child  being  able  to 
say  when  the  work  is  finished,  "  I  did  it  all 
myself." 

Beautiful  silk  canvas  can  be  made  of  rope 
silk  and  cross-stitched  with  another  color 
or  tone,  or  with,  chenille,  making  a  velvet 
figure.  This  material  is,  of  course,  more 


53 


expensive.  Two  colors  or  two  tones  may 
be  woven  with  chenille  and  silk  in  a  kinder- 
garten design.  Beautiful  holiday  and  birth- 
day gifts  can  be  made  from  these  materials, 
such  as  mats,  cushion  covers,  and  sachet 
cases.  Glove,  mouchoir,  necktie,  fan,  and 
trinket  boxes  can  be  made  by  weaving  the 
top,  bottom,  and  sides  in  panels.  Founda- 
tion boxes,  which  may  be  purchased  for  a 
few  cents,  are  excellent  for  this  purpose,  or 
they  can  be  made  very  well  at  home  from 
three-ply  cardboard.  Make  the  hinges  of 
ribbon  and  line  the  boxes  with  silk  of  a  cor- 
responding or  contrasting  color. 

Carpet  ravelings  may  be  obtained  from 
the  carpet  stores,  or  pieces  of  carpet  can  be 
raveled  by  the  children.  Let  them  have  the 
pleasure  and  benefit  which  come  from  sort- 
ing the  ravelings.  It  is  an  excellent  lesson 
in  color,  besides  developing  the  patience, 
concentration,  discrimination,  and  judgment 
so  much  to  be  desired  in  other  work.  After 
the  wool  is  sorted  —  not  before,  because  it  is 
not  all  fast  color  —  dip  in  water,  wring,  and 
let  the  children  straighten  it  gently,  one 
piece  at  a  time.  This  will  make  it  as  smooth 
and  soft  as  new  wool.  Procure  some  small 
boxes — shoe  boxes  are  a  good  size  —  place 
one  color  in  a  box  with  a  sample  fastened 


Carpet 
ravelings 


HAND-LOOM  IV E A  VING 


Carpet 

wools 


Double 
German- 
town  wool 


outside  at  one  end,  and  pile  them  upon  a  low 
shelf  or  window  sill.  Train  the  children  to 
go  to  the  "play  store"  to  match  their  own 
wool.  If  they  go  quietly,  one  at  a  time,  no 
one  is  disturbed  and  each  child  gains  in 
knowledge  of  color  as  well  as  in  independ- 
ence. A  little  management  of  this  kind 
helps  the  teacher  as  well  as  the  child. 

New  wools  of  various  kinds  and  beauti- 
ful colors  can  be  bought  in  large  quantities 
from  dealers  in  materials  for  industrial  work. 
In  some  carpet  departments  you  will  find 
oriental  wools  which  are  used  to  mend  rugs, 
and  a  small  quantity  can  be  bought.  Some 
of  the  kindergarten  supply  stores  and  deco- 
ration companies  have  already  advertised  a 
stock  of  these  materials. 

An  ideal  material  for  little  folks  is  double 
Germantown  wool.  The  soft  wool,  used  for 
both  warp  and  woof,  is  excellent  for  weaving 
kindergarten  designs.  This  should  be  done 
with  a  close  warp,  which  may  be  extended 
each  side  of  the  head  and  foot  piece  as  a 
fringe.  By  extending  the  warp  any  length 
desired  beyond  the  head  piece,  long  strips 
for  slumber  robes,  afghans,  and  such  articles 
can  be  woven.  The  warp  may  be  strung 
with  twine  as  near  the  color  of  the  wool  as 
possible,  and  a  plain  rug  be  made,  with 


MATERIALS 


55 


colored  stripes  at  each  end.  A  very  pretty 
and  easy  gift  for  a  little  child  to  make  is  a 
holder  for  the  teapot,  as  described  on  page 
92.  The  German  town  knitting  yarn,  which 
is  more  tightly  twisted,  makes  very  pretty 
rugs  and  mats.  It  is  sometimes  used  for 
Navajo  blankets. 

White  dolls'-towels,  with  red  or  blue 
stripes,  are  made  of  darning  cotton.  Baste  a 
small  piece  of  canvas  at  one  end  and  cross- 
stitch  Miss  Dolly's  initial. 

Plain  white  bedspreads,  or  white  com- 
bined with  a  color  in  a  kindergarten  design, 
can  be  made  of  knitting  cotton  which  is  a 
little  coarser  than  darning  cotton.  Knot  a 
fringe  on  all  sides.  Lunch  cloths  and  table 
covers  for  Miss  Dolly  can  be  made  in  the 
.same  way. 

Macreme  cord  is  the  best  material  for  ham- 
mocks. It  comes  in  many  beautiful  colors, 
at  a  few  cents  a  ball. 

To  weave  a  kindergarten  design  in  two 
colors  of  leather  strips,  have  the  leather  cut 
the  desired  width,  and  fasten  them  to  a  piece 
of  strong  muslin  at  the  top  and  bottom  of  the 
mat  or  panel.  Fit  the  muslin  over  the  teeth 
in  head  and  foot  pieces  by  cutting  a  small 
opening. 

Celluloid  strips  may  be   treated   in   the 


German- 
town 
knitting 
yarn 


Darning 
cotton 


Knitting 
cotton 


Macreml 
cord 


Leather 
strips 


Celluloid 
strips 


HAND-LOOM  IV E A  VING 


Leather 
strips 


Raffia 


Sttetland 

wool 


same  way.  Leather  and  celluloid  strips  can 
be  woven  free-hand  like  the  paper  strips. 

Many  beautiful  articles  can  be  made  of 
raffia,  which  is  a  palm  fibre  brought  from  the 
island  of  Madagascar.  It  can  be  obtained 
in  the  natural  color  at  most  of  the  depart- 
ment stores,  the  kindergarten  supply  houses, 
and  the  florists.  The  cost  is  usually  20  cents 
or  25  cents  per  pound,  although  the  florists 
will  sell  a  few  cents'  worth.  It  can  be  dyed 
easily,  and  with  little  expense,  with  Diamond 
or  aniline  dyes.  It  should  first  be  washed. 
Care  should  be  taken,  in  the  selection,  to 
obtain  long,  smooth  pieces  which  will  be  at 
least  one-half  inch  wide  when  wet,  and  of  an 
even  color.  Some  of  the  raffia  is  musty  and 
badly  spotted.  It  is  well  to  wet  all  of  it 
first,  then  straighten  and  allow  it  to  dry. 
While  weaving,  keep  the  raffia  moist  by  dip- 
ping the  fingers  now  and  then  in  a  cup  of 
water.  Experience  has  proved  this  method 
to  be  more  satisfactory  than  to  allow  the  raffia 
to  remain  in  water  and  become  thoroughly 
soaked,  particularly  the  colored  raffia.  If  one 
cares  to  expend  money  instead  of  time  and 
trouble,  the  raffia  can  be  dyed  in  very  beau- 
tiful colors  at  the  dye  houses. 

Blankets  for  Miss  Dolly  can  be  made  of 
the  soft  Shetland  wool  and  Germantown 


MA  TERIALS 


57 


zephyr.  For  bed  blankets,  cream  color,  with 
stripes  of  two  or  more  colors,  are  very  attract- 
ive. Carriage  blankets  made  with  white  cen- 
ters and  colored  borders,  or  with  a  tone  for 
the  center  and  a  shade  for  the  border,  are  a 
great  addition  to  the  carriage,  as  well  as  a 
source  of  comfort  to  the  little  occupant. 
Bind  the  edges  with  ribbon  and  run  a  nar- 
row one  through  the  beading  formed  by  tak- 
ing out  the  extra  rods.  This  ribbon  can  be 
run  all  around  the  center  part  by  leaving  out 
a  few  woof  threads  at  the  top  and  bottom. 

By  stringing  a  close  warp  of  knitting  silk 
and  extending  it  the  required  length,  shawl- 
straps,  suspenders,  belts,  and  garters  can  be 
woven.  The  rods  should  be  adjusted  for  the 
desired  width.  Finish  at  each  end  with 
pieces  of  silk  elastic  of  the  same  color,  and 
with  buckles. 

Angora  wool  makes  pretty  Tarn  O'Shan- 
ters.  Initials  can  be  woven  in  any  article. 

Small  books  containing  cross-stitch  de- 
signs can  be  found  at  the  German  and 
French  embroidery  stores  in  large  cities  — 
sometimes,  but  rarely,  at  the  art  counter 
in  department  stores.  The  "Kindergarten 
Guides"  can  be  obtained  at  most  public 
libraries,  or  a  kindergartner  friend  will  be 
glad  to  loan  one. 


Knitting 
silk 


Angora 
wool 


Books  of 
patterns 


HAND-LOOM  WE  A  VING 


Diamond 
dyes 


Vegetable 
dyes 


Mrs. 

Candace 

Wheeler's 

pamphlet 


DIRECTIONS   FOR   DYEING 

A  FEW  hints  with  regard  to  dyeing  raffia, 
cheese  cloth,  white  cord  for  hammocks, 
and  other  materials,  may  be  found  useful. 
For  raffia  use  the  Diamond  dyes  which  are 
intended  for  wool  or  silk.  Wash  the  raffia 
first.  The  color  will  be  improved  by  soaking 
the  raffia  a  day  in  alum  water,  one-half  pound 
to  the  gallon.  Dye  once  used  can  be  kept 
in  an  air-tight  dish  and  reheated  whenever 
needed. 

Should  one  be  interested  in  vegetable 
dyes  much  information  can  be  obtained  at 
the  public  libraries.  Dr.  Washington  Mat- 
thews speaks  of  Indian  dyes  in  his  article  on 
the  Navajo  weavers  mentioned  in  this  book. 
"How  to  Make  and  How  to  Mend"  also  con- 
tains some  good  suggestions  about  dyes. 

In  her  little  pamphlet,  Home  Industries  and 
Domestic  Weavings,  published  by  the  Asso- 
ciated Artists,  115  East  23d  Street,  New 
York  City,  Mrs.  Candace  Wheeler  has  an 
interesting  chapter  on  "  Rag-Carpet  Weav- 
ing." Her  suggestions  for  dyeing  rags  apply 


DIRECTIONS  FOR  DYEING 


59 


equally  to  yarns  and  to  other  materials  which 
may  be  used  on  hand  looms  for  children. 
Through  her  kind  permission  I  am  allowed 
to  quote  the  following  suggestions : 

"  In  the  early  days  of  this  present  century 
a  dye  tub  was  as  much  a  necessity  in  every 
house  as  a  spinning-wheel,  and  the  reestab- 
lishment  of  it  in  houses  where  weaving  is 
practiced  is  almost  a  necessity;  in  fact,  it 
would  be  of  far  greater  use  at  present  than 
in  the  days  when  it  was  only  used  to  dye  the 
wool  needed  for  family  knitting  and  weav- 
ing. All  shades  of  blue,  from  sky-blue  to 
blue-black,  can  be  dyed  in  the  indigo  tub; 
and  it  has  the  merit  of  being  a  cheap  as  well 
as  an  almost  perfectly  fast  dye.  It  could  be 
used  for  dyeing  warps  as  well  as  fillings,  and 
I  have  before  spoken  of  the  difficulty,  indeed 
almost  impossibility,  of  procuring  indigo- 
dyed  carpet  yarn. 

"  Blue  is,  perhaps,  more  universally  useful 
than  any  other  color  in  rag-rug  making,  since 
it  is  safe  for  both  cotton  and  wool,  and  covers 
a  range  from  the  white  rug  with  blue  warp, 
the  blue  rug  with  white  warp,  through  all 
varieties  of  shade  to  the  dark  blue,  or  clouded 
blue  and  green  rug,  also,  upon  white  warp. 
It  can  also  be  used  in  connection  with  yellow 
or  orange,  or  with  copperas  or  walnut  dye, 


Uses  of  the 
indigo  tub 


Blue 
univer- 
sally used 


6o 


HAND-LOOM  WEAVING 


Green 


Red 


Copperas 
Dull  green 


Domestic 
dyes 


Nut  stains 


in  different  shades  of  green ;  and,  in  short, 
unless  one  has  exceptional  advantages  in 
buying  rags  from  woolen  mills,  I  can  hardly 
imagine  a  profitable  industry  of  rag-weaving 
established  in  any  farmhouse  without  the 
existence  of  an  indigo  dyeing  tub. 

"  The  next  important  color  is  red.  Fortu- 
nately, red  warps  can  be  bought  which  are 
reasonably  fast,  but  the  only  way  to  procure 
red  rags  in  quantity  is  to  dye  them,  and, 
although  the  dye  is  somewhat  expensive, 
there  are  two  colors,  turkey  red  and  car- 
dinal red,  which  are  extremely  good  for  the 
purpose.  Probably  these  could  be  bought 
at  wholesale  from  dealers  in  chemicals  and 
dyestuffs  at  much  cheaper  rates  than  by  the 
small  paper  from  the  druggist  or  the  coun- 
try store.  Copperas  gives  a  fast  nankeen- 
colored  dye,  and  this  is  very  useful  in 
making  a  dull  green  by  an  after  dip  in  the 
indigo  tub. 

"  There  are  some  valuable  domestic  dyes 
which  are  within  the  reach  of  every  country 
dweller,  the  cheapest  and  best  of  which  is 
walnut  or  butternut  stain.  This  is  made 
by  steeping  the  bark  of  the  tree  or  the  shell 
of  the  nut  until  the  water  is  dark  with  color, 
and  setting  it  with  alum.  It  will  give  vari- 
ous shades  of  yellow,  brown,  dark  brown, 


DIRECTIONS  FOR  DYEING 


61 


and  green  brown,  according  to  the  strength 
of  the  decoction  or  the  state  of  the  bark  or 
nut  when  used.  If  the  bark  of  the  nut  is 
used  when  green,  the  result  will  be  a  yellow 
brown;  and  this  stain  is  also  valuable  in 
making  a  green  tint  when  an  after  dip  of 
blue  is  added.  Leaves  and  tree-bark  will 
give  a  brown  with  a  very  green  tint,  and 
these  different  shades  used  in  different 
rags  woven  together  give  a  very  agreeably 
clouded  effect.  Walnut  stain  will  itself  set 
or  fasten  some  others;  for  instance,  poke- 
berry  stain,  which  is  a  lovely  crimson,  can 
be  made  reasonably  fast  by  setting  it  with 
walnut  juice.  Iron  rust  is  the  most  indeli- 
ble of  all  stains,  besides  being  a  most  agree- 
able yellow,  and  it  is  not  hard  to  obtain,  as 
bits  of  old  iron  left  standing  in  water  will 
soon  manufacture  it.  It  would  be  a  good 
use  for  old  tin  saucepans,  and  various  other 
house  utensils  which  have  come  to  a  state  of 
mischievousness  instead  of  usefulness.  Ink 
gives  various  shades  of  gray  according  to 
its  strength,  but  it  would  be  cheaper  to  pur- 
chase it  in  the  form  of  logwood  than  as  ink. 

"  There  is  a  strong  and  well-founded  pref- 
erence among  art  producers  in  favor  of  vege- 
table dyes,  and  yet  it  is  possible  to  use 


Leaf 
stains 


Ink  stains 


Vegetable 
dyes 


62 


HAND-LOOM  IV E A  VING 


The 

variety  of 
shades 


Carding 

and 

twisting 


Blue 


Pink 


Gray 


certain  of  the  aniline  colors,  especially  in 
combination,  in  safe  and  satisfactory  ways. 

"Everyone  who  undertakes  domestic  weav- 
ing must  know  how  to  dye  one  or  two  good 
colors.  Black,  of  course,  and  the  half-black, 
or  gray,  which  a  good  colorist  of  my  ac- 
quaintance calls  a  light  black.  Indigo  blue 
equally,  of  course,  in  three  shades  of  very 
dark  and  light.  Here  are  seven  shades  from 
the  three  dyes,  and  when  we  add  white  we 
see  that  the  weaver  is  already  very  well 
equipped  with  a  variety  of  color.  The  eight 
shades  can  be  still  further  enlarged  by  cloud- 
ing and  mixing.  The  mixing  can  be  done 
in  two  ways,  either  by  carding  two  tints 
together  before  spinning,  or  by  twisting 
them  together  when  spun. 

"  Carding  together  gives  a  very  much  bet- 
ter effect  in  wool,  while  twisting  together  is 
preferable  in  cotton. 

"  Dark  blue  and  white  and  medium  blue 
and  white  wool  carded  together  will  give 
two  blue  grays  which  cannot  be  obtained 
by  dyeing,  and  are  most  valuable.  White 
and  red  carded  together  give  a  lovely  pink, 
and  any  shade  of  gray  can  be  made  by  card- 
ing different  proportions  of  black  and  white 
or  half-black  and  white.  A  valuable  gray 
is  made  by  carding  black  and  white  wool 


DIRECTIONS  FOR  DYEING 


together,  and  by  black  wool  I  mean  the  nat- 
ural black  or  brownish  wool  of  black  sheep. 
Mixing  of  deeply  dyed  and  white  wool  to- 
gether in  carding  is,  artistically  considered, 
a  very  valuable  process,  as  it  gives  a  softness 
of  color  which  it  is  impossible  to  get  in  any 
other  way.  Clouding,  which  is  almost  an 
indispensable  process  for  rug  centers,  can 
be  done  by  winding  certain  portions  of  the 
skeins  or  hanks  of  yarn  very  tightly  and 
closely  with  twine  before  they  are  thrown 
into  the  dye  pot.  The  winding  must  be 
close  enough  to  prevent  the  dye  penetrating 
to  the  yarn.  This  means,  of  course,  when 
the  clouding  is  to  be  of  white  and  another 
color.  If  it  is  to  be  two  shades  of  one  color, 
as  a  light  and  medium  blue,  the  skein  is  first 
dyed  a  light  blue,  and  after  drying,  is  wound 
as  I  have  described,  and  thrown  again  into 
the  dye  pot,  until  the  unwound  portions 
become  the  darker  blue  which  we  call 
medium." 

Through  the  courtesy  of  Mrs.  Helen  R. 
Albee,  who  has  done  much  to  revive  an  inter- 
est in  rug-weaving,  I  am  allowed  to  quote 
the  following  detailed  .suggestions  on  the 
subject  of  dyeing  from  her  helpful  manual, 
Abndkee  Rugs.  This  little  manual  treats 
fully  of  the  "Abnakee  Rug  Industry,"  the 


Clouding- 


Mrs. 

Albee's 

manual 


HAND-LOOM  WE  A  VING 


Combina- 
tions of 
color 


Safe  tones 


"Materials,"  "Methods  of  Work,"  and  "Dye 
Formulas."  It  was  issued  through  the  River- 
side Press  in  1901. 

Speaking  of  combinations  of  color,  Mrs. 
Albee  says : 

"A  careful  study  of  the  effects  of  colors 
upon  each  other  will  show  that  colors  which 
are  in  themselves  beautiful  are  often  inhar- 
monious when  combined.  Also,  a  little  of 
a  color  may  be  good,  when  a  larger  propor- 
tion seems  to  destroy  the  balance  or  har- 
mony. Success  in  this  matter  is  largely  a 
matter  of  close  observation  and  experience, 
although  some  persons  have  a  natural  feel- 
ing or  instinct  regarding  color  which  is  sel- 
dom in  error.  Strong  colors  should  never 
be  used,  especially  greens.  Though  they 
may  be  modest  in  the  piece,  when  worked 
in  with  other  colors,  they  have  an  unfortu- 
nate way  of  becoming  intensified  tenfold. 
The  safest  tones  for  an  amateur  to  deal 
with  are  dull  gray  green,  yellow  green,  and 
a  soft,  full,  but  dark  olive.  In  striking  a 
certain  key  in  color  it  should  be  maintained 
throughout.  Thus,  if  a  full  rich  color  pre- 
dominates, rich  dark  colors  should  be  used 
through  the  whole  scheme.  If  a  light  tone 
is  the  body  color,  soft  light  tones  of  other 
colors  will  be  found  most  harmonious. 


DIRECTIONS  FOR  DYEING 


Thus,  for  example,  a  rug  for  a  library,  or  a 
hall,  in  whieh  a  good  deal  of  rich  terra  cotta 
appears,  should  have  a  border  or  design 
worked  in  dark  blues,  full  shades  of  olive 
green,  and  dull  yellow.  There  is  an  appar- 
ent exception  to  this  in  the  use  of  dull  reds, 
old  ivory,  and  black  as  seen  in  Bokhara  rugs. 
But  if  studied,  the  cream  color  is  very  dull, 
and  is  used  in  such  small  quantities  as  to 
be  quite  subdued  by  the  black  that  is  used 
freely  in  the  pattern.  Old  rose,  warm  golden 
browns,  and  olive  may  be  used  effectively. 
A  light  Gobelin  blue  may  be  worked  with 
ivory,  old  pink,  light  dull  olive,  and  the  out- 
lines can  be  either  a  dark  yellow  brown  or 
very  dark  bronze  green.  An  ivory  center 
is  lovely  with  an  old  pink  border  worked  in 
green.  A  tan  center  may  be  combined  with 
old  rose,  sage  green,  bronze  green,  light 
yellow,  cream  color,  and  dark  brown  out- 
lines. Indigo  blue,  forest  green,  and  dull 
yellow  are  excellent  colors  when  combined. 
A  great  variety  of  beautiful  rugs  may  be 
made  by  using  only  blue  and  white,  and 
unless  one  wishes  to  go  extensively  into 
dyeing,  it  might  be  well  to  choose  a  certain 
simple  color  scheme  such  as  blue  and  white, 
red,  black,  and  ivory,  and  abide  by  it.  Let 
it  be  remembered  that  white  in  rugs  is  not 


Colors  in 
rugs 


Use  of 
white 


66 


HAND-LOOM  WEAVING 


Planning 

a  color 

scheme  for 

a  rug 


white,  neither  is  it  a  delicate  cream.  Unless 
it  is  decidedly  yellowish  or  even  grayish  in 
tone,  when  in  combination  with  other  colors, 
it  becomes  a  staring  white  that  is  anything 
but  artistic.  I  dye  my  cream  colors,  just  as 
much  as  I  do  dark  reds  or  greens. 

"  I  have  been  asked  many  times  what  is 
the  best  way  to  plan  a  color  scheme  for  a 
rug.  This  is  a  point  I  cannot  determine  for 
another.  Some  may  find  help  in  making 
water  color  sketches  of  what  they  wish  to 
do.  In  my  own  work  I  never  use  them,  as 
it  requires  making  a  reduced  drawing  of 
great  accuracy,  and  much  time  to  color  it. 
Often  I  plan  a  combination  mentally,  and 
match  it  up  from  the  dyed  flannels  I  always 
have  on  hand.  Other  times  I  vary  the 
scheme  of  some  rug  I  have  already  made, 
experimenting  with  different  combinations, 
using  other  rugs  as  if  they  were  books  of 
reference.  I  have  discovered  one  rather 
curious  thing,  which  is,  that  when  all  my 
experimenting  is  done  I  find  some  particu- 
lar color  scheme  fits  a  certain  rug  as  no  other 
does.  It  seems  to  clothe  or  to  fulfill  the 
pattern  as  if  it  belonged  personally  to  it. 
When  I  once  discover  this  elective  affinity 
of  a  pattern  for  its  special  coloring,  I  never 
make  it  again  save  in  that  one  guise. 


DIRECTIONS  FOR  DYEING 


67 


"  Much  skill  can  be  shown  by  an  artistic 
worker  in  the  use  of  slight  shades  of  differ- 
ence in  the  same  color.  For  example,  in  the  Shading 
plain  center  of  a  rug,  several  tones  repre- 
senting shades  of  the  same  color  will  give 
the  effect  of  a  play  of  light  on  a  silky  sur- 
face, which  is  very  beautiful.  By  using 
material  that  has  been  dyed  a  trifle  darker 
at  one  end  of  the  rug,  and  working  in  grad- 
ually lighter  tones,  the  result  is  surprisingly 
effective.  To  do  this,  each  three  or  four 
yards  should  be  dyed  with  these  slight  dif- 
ferences of  tone;  then  when  within  thirty 
strips  of  the  end  of  one  color  (more  or  less, 
according  to  the  width  of  the  rug),  work  in 
a  broken  line  of  the  next  tone  all  across  the 
rug.  Then  use  a  few  rows  (not  worked  in 
single  rows,  however)  of  the  first  color  across 
the  entire  rug,  then  a  wider  broken  line  of 
the  second  color.  Broken  lines  blend  better 
than  continuous  lines  do.  The  portions  of 
the  second  line  should  fall  above  the  broken 
spaces  left  in  the  first  line  (in  the  same  way 
that  masons  lay  bricks),  then  a  little  more 
of  the  first  color,  using  less  and  less  of  it, 
and  increasing  the  width  of  the  second  in 
masses,  until  the  first  color  has  become  only 
broken  lines  upon  the  ground  of  the  second 
color.  All  the  way  through,  any  changes  of 


Directions 

for 

shading 


68 


HAND-LOOM  WEAVING 


color  should  be  merged  in  this  way.  Be 
sure  to  work  this  method  from  side  to  side 
across  the  rug,  as  the  frameful  is  filled. 

"  This  is  the  most  difficult  feature  of  the 
coloring  whole  handicraft,  the  actual  coloring,  and 
yet  for  fine  effects  I  should  recommend  only 
the  use  of  hand-dyed  materials.  Goods  dyed 
by  professional  dyers  are  perfectly  uniform 
in  color  throughout,  and  rugs  made  of  such 
material  will  have  nothing  of  that  difference 
of  tone,  that  play  of  color,  that  is  absolutely 
necessary  for  beauty. 

"In  dyeing  use  only  brass,  copper,  granite, 
or  porcelain  kettles,  unless  one  goes  into  it 
on  a  large  scale  and  uses  regular  machinery. 
Brass  and  copper  vessels  are  to  be  preferred, 
while  iron,  or  tin  showing  iron,  are  to  be 
carefully  avoided,  as  the  mordants  have  a 
great  affinity  for  iron  and  ruin  the  color.  I 
use  a  large  brass  kettle  holding  about  five 
gallons. 

"For  mordants  I  use  Glauber  salts  and 
Mordants  sulphuric  acid,  and  with  the  weight  of  cloth 
I  use,  it  takes  3  oz.  of  Glauber  salts  and  ^  oz. 
of  sulphuric  acid  (full  strength)  to  each  six 
yards  of  flannel.  I  use  a  one-ounce  Phenix 
graduate  (American  standard)  measuring 
glass,  and  as  full  strength  sulphuric  acid 
has  about  twice  the  specific  gravity  of  water, 


DIRECTIONS  FOR  DYEING 


69 


one  should  measure  by  the  scale  engraved 
on  the  right-hand  side  of  the  glass.  The 
left-hand  scale  is  based  upon  the  standard 
unit  of  weight,  which  is  water. 

''In  using  sulphuric  acid  I  dilute  it  in  a 
little  cold  water  in  a  cup  by  pouring  the 
acid  on  to  the  water,  as  sulphuric  acid  in 
uniting  with  water  causes  a  chemical  reac- 
tion. Where  a  large  quantity  of  acid  is 
used  this  reaction  is  accompanied  by  a  sud- 
den burst  of  steam,  if  the  water  falls  upon 
the  acid.  But  in  a  small  quantity  as  this, 
there  is  no  possible  danger  of  accident  if  the 
acid  is  poured  on  the  water.  Sulphuric  acid 
should  be  closely  stoppered  and  used  with 
care,  as  it  is  corrosive,  eating  holes  in  cotton 
or  linen  fabrics.  With  ordinary  precautions 
it  can  be  used  without  the  least  difficulty. 

"Glauber  salts  are  too  well  known  in  com- 
merce to  need  description,  and  are  used  to 
neutralize  the  acid.  The  two  in  combina- 
tion do  not  injure  woolen  fabrics,  but  merely 
set  the  dyes. 

"In  preparing  the  dye  bath  allow  three 
gallons  of  water,  and  ^  oz.  of  sulphuric  acid; 
stir  thoroughly  and  add  3  oz.  Glauber  salts 
to  six  yards  of  cloth.  Then  add  the  dyestuff 
in  required  proportions.  Stir  thoroughly  as 
each  ingredient  is  added,  for  the  evenness 


Uses  of 
acids 


Salts  set 
the  dyes 


Prepara- 
tion of  a 
dye  bath 


HAND-LOOM  WE  A  VING 


Coloring 
depends  on 
tempera- 
ture 


of  the  dye  depends  upon  the  thorough  dis- 
tribution of  the  mordants  and  color  in  the 
dye  bath.  Generally  it  is  advised  to  strain 
the  dye  before  it  is  added,  but,  as  an  even 
tone  is  not  the  desired  result  for  this  special 
handicraft,  I  never  follow  this  suggestion. 

"The  proper  temperature  for  introducing 
the  color  in  the  bath  is  not  over  150°  F.,  but 
if  one  has  not  a  bath  thermometer,  the  tem- 
perature must  be  very  hot,  yet  far  below 
boiling  point.  Temperature  plays  a  great 
part  in  dyeing,  for  if  the  dye  bath  is  too  hot 
when  the  cloth  is  introduced,  the  dye,  hav- 
ing a  great  avidity  for  wool,  will  be  absorbed 
unequally  by  the  cloth,  the  ends  and  outside 
folds  of  the  cloth  absorbing  more  color  than 
is  desired,  and  the  inner  folds  will  have  less. 
I  am  not  discussing  the  process  of  dyeing 
as  it  should  be  done  on  a  large  scale  with 
vats  and  suitable  reels,  etc.,  but  as  it  is  likely 
to  be  done  by  an  amateur,  in  a  small  way. 
When  the  bath  is  too  hot,  the  cloth  takes 
the  dye  unequally  and  is  quite  spotted.  A 
little  irregularity  is  necessary  for  a  play  of 
color,  but  it  should  be  secured  in  a  definite 
way  and  only  to  a  certain  degree,  and  not 
as  the  result  of  accident.  If  the  cloth  has 
come  out  spotty,  it  may  be  redipped,  having 
added  more  dye  and  mordants  to  the  bath, 


DIRECTIONS  FOR  DYEING 


but  it  will  come  out  a  darker  shade.  If  the 
bath  is  anywhere  near  the  boiling  point 
before  the  cloth  is  dipped,  reduce  it  by  add- 
ing a  quart  or  two  of  cold  water." 

Before  dyeing  yarn  or  raffia,  bind  the 
skeins  loosely  in  several  places  to  prevent 
tangling.  "Having  prepared  the  bath,  gather 
the  cloth  in  the  right  hand  at  half  a  dozen 
places  along  one  selvedge,  and  drop  it  in, 
spreading  it  at  once,  using  two  stout  sticks, 
lifting  it  up  and  down  continually  so  as  to 
expose  all  parts  to  the  dye.  The  tempera- 
ture should  be  increased  to  the  boiling  point 
and  continued  for  three-quarters  of  an  hour. 
Then  lift  the  cloth  up  and  drain  it,  then 
rinse  in  cold  water,  wring  dry,  but  do  not 
press  with  an  iron,  as  the  soft  wooly  texture 
is  very  desirable.  When  a  quantity  of  the 
same  color  is  desired,  the  same  water  can  be 
used  again  by  adding  acid  and  Glauber  salts, 
together  with  more  dyestuff  with  each  fresh 
dip  of  cloth.  It  must  be  stated,  however, 
that  the  color  will  not  be  so  clear  with  suc- 
ceeding dips,  but  that  does  not  matter,  as  a 
difference  is  desired.  The  process  of  dyeing 
is  very  delicate,  and  the  utmost  precision 
must  be  observed  in  following  proportions 
and  directions  regarding  temperature,  etc. 
Dyeing  is  more  successful  in  clear  weather 


Process  of 
dyeing 
yarn  or 
raffia 


HAND- LOOM  WE  A  VING 


Clear  davs 

are  best  for 

dyeing 


Vegetable 

dyes  and 

chemical 

dyes 

compared 


than  on  rainy  days,  and  soft  water  is  required 
to  get  good  results.  If  water  contains  much 
lime  or  earthy  salts  it  is  unfit  for  dyeing, 
and  must  be  neutralized  by  acetic  acid.  In 
such  cases  it  would  be  still  better  to  use 
rain  water. 

"  There  is  a  curious  conviction  prevailing 
in  some  quarters  that  beautiful  durable  colors 
are  obtainable  only  from  vegetable  dyes.  My 
first  experiments  were  with  barks,  mosses, 
etc.,  but  the  difficulty  of  getting  them,  the 
enormous  amount  necessary  to  dye  any  quan- 
tity of  goods,  the  tedious  process  in  their 
use,  and  the  fact  that  after  all  only  a  narrow 
range  of  colors  is  obtainable  from  them, 
compelled  me  to  abandon  them  altogether. 
I  began  to  investigate  chemical  dyes,  and  to 
gain  information  I  applied  to  one  of  the 
largest  woolen  mills  in  New  England,  one 
which  maintains  a  high  reputation  for  the 
class  of  goods  it  manufactures;  also  to  two 
wholesale  houses  dealing  in  all  kinds  of 
dyestuffs;  and  finally  to  one  of  the  best 
experts  in  color  in  the  country.  Their 
verdict  was  unanimous,  and  is  summed  up 
in  the  opinion  of  the  expert  which  he  ex- 
pressed in  a  letter  to  me  on  this  question : 

"  '  In  regard  to  the  use  of  vegetable  dyes,  I 
would  say  that  they  have  almost  disappeared 


DIRECTIONS  FOR  DYEING 


73 


from  commerce,  certainly  for  the  purpose  of 
dyeing  fabrics. 

'"We  know,  of  course,  that  there  are 
strong  prejudices  still  existing  in  the  lay- 
man's mind  in  regard  to  the  use  of  aniline 
colors,  who  supposes  that  they  are  not  only 
fugitive,  but  that  the  resulting  tones  are 
harsh  and  unattractive.  This,  unfortunately, 
was  so  twenty-five  years  ago,  and  the  impres- 
sion made  then  upon  the  layman's  mind  has 
not  been  changed  during  all  these  years ; 
but  I  can  assure  you  that  all  the  beautiful 
silk  goods,  tapestries,  cloths,  and  all  the 
colors  which  we  see  in  fabrics  to-day,  are 
made,  without  exception,  from  aniline  col- 
ors, which  are  immeasurably  more  perma- 
nent than  are  the  vegetable  dyes  used  up  to, 
say,  1875.' 

"In  using  my  range  of  eight  colors  I  pro- 
vide myself  with  large,  strong  glass  bottles 
in  which  I  keep  my  diluted  colors.  I  use  a 
pint  measure  for  diluting  the  dyes.  In  pre- 
paring the  fluid  I  put  one  half  or  one  quar- 
ter of  an  ounce  of  dry  color,  whichever 
amount  the  formula  calls  for,  into  the  pint 
measure  and  mix  it  thoroughly  with  a  little 
cold  water.  The  reason  for  using  cold  water 
is  that  the  dyes  are  a  tar  product,  and  if 
mixed  with  hot  water  first,  they  are  apt  to 


Aniline 
colors 


Formulas 
to  be 
followed 


74- 


HAND-LOOM  WE  A  VING 


grow  waxy  under  the  heat  and  not  dissolve 
readily.  Having  dissolved  them,  I  fill  up 
the  measure  with  hot  water,  stirring  all  the 
time.  This  makes  a  pint  of  liquid  which  is 
of  uniform  strength  under  all  circumstances, 
and  every  formula  is  based  upon  this  invari- 
able pint  measure  of  water.  These  formulas 
I  have  tried  over  and  over  again.  They  are 
made  with  special  reference  to  the  grade  of 
flannel  I  have  adopted,  and  doubtless  will 
vary  in  results  if  used  on  other  weights  or 
weaves  of  wool  goods." 

DYE   FORMULAS 


Dark 
terra  cot  fa 


Full 
terra  cotta 


NO.    I.     DARK   TERRA   COTTA 

Dissolve  y^,  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  y±  oz.  of  green  in  i  pint  of  water. 

Take  full  pint  measure  of  dull  red  dye 
and  4  tablespoonfuls  of  green  dye  to  6  yds. 
of  cloth. 

Mordants :  ^  oz.  sulphuric  acid  and  3  oz. 
Glauber  salts.  Boil  ^  of  an  hour. 

NO.    2.      FULL  TERRA   COTTA 

Dissolve  y2  oz.  of  dull  red  in  i  pint  of 
water. 

Use  full  pint  measure  of  dull  red  dye  to  6 
yds.  of  cloth. 


DIRECTIONS  FOR  DYEING 


75 


Mordants :  ^  oz.  sulphuric  acid  and  3  oz. 
Glauber  salts. 

NO.    3.      LIGHTER   TERRA   COTTA 

Dissolve  y2  oz.  of  dull  red  in  i  pint  of 
water. 

Use  22  tablespoonfuls  of  dull  red  dye  to 
6  yds.  of  cloth. 

Mordants :  ^  oz.  sulphuric  acid  and  3  oz. 
Glauber  salts. 

NO.   4.      RICH   OLD    RED 

Dissolve  y-2.  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  y^  oz.  of  green  in  i  pint  of  water. 

Use  24  tablespoonfuls  of  dull  red  dye  and 
3  tablespoonfuls  of  green  dye  to  6  yds.  of 
cloth. 

Mordants:     Same  as  No.  i. 

NO.    5.      DULL   OLD   ROSE 

Dissolve  *4  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  y^  oz.  of  bright  blue  in  i  pint  of 
water. 

Dissolve  y±  oz.  of  dull  yellow  in  i  pint  of 
water. 

Use  1 6  tablespoonfuls  of  dull  red  dye,  and 
i  tablespoonful  of  bright  blue  dye,  and  3 


Lighter 
terra  cotta 


Rich  old 
red 


Dull  old 
rose 


76 


HAND-LOOM  WE  A  VING 


Old  pink 


Full 
yellow 


tablespoonfuls  of  dull  yellow  dye  to  6  yds. 
of  cloth. 

Mordants:     Same  as  in  No.  i. 

NO.  6.     OLD  PINK 

Dissolve  y±  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  y^  oz.  of  dull  yellow  in  i  pint  of 
water. 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Use  6  tablespoonfuls  of  dull  red  dye,  and 
3  tablespoonfuls  of  dull  yellow  dye,  and  i  y2 
teaspoonfuls  of  dark  blue  dye  to  6  yds.  of 
cloth. 

Mordants  :     Same  as  in  No.  i  . 

NO.   7.      FULL   YELLOW 


oz-  °f  bright  yellow  in  i  pint 
oz.  of  dull  yellow  in  i  pint  of 


Dissolve 
of  water. 

Dissolve 
water. 

Dissolve  *4  oz-  °f  green  in  i  pint  of  water. 

Use  6  tablespoonfuls  of  bright  yellow  dye, 
and  5  tablespoonfuls  of  dull  yellow  dye,  and 
2  tablespoonfuls  of  green  dye  to  6  yds.  of 
cloth. 

Mordants:     Same  as  in  No.  i. 


DIRECTIONS  FOR  DYEING 


77 


NO.  8.      RICH   DULL   YELLOW 

Dissolve  y±  oz.  of  bright  yellow  in  i  pint 
of  water. 

Dissolve  y±  oz.  of  dull  red  in  i  pint  of 
water. 

Use  12  tablespoonfuls  of  yellow  dye  and 
6  tablespoonfuls  of  dull  red  dye  to  6  yds.  of 
cloth. 

Mordants:     Same  as  in  No.  i. 

NO.  9.      DARK   TAN   YELLOW 

Dissolve  %  oz.  of  dull  yellow  in  i  pint  of 
water. 

Use  14  tablespoonfuls  of  dull  yellow  dye 
to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  i. 

NO.   10.      LIGHT   OLIVE   TAN 

Dissolve  14  oz.  of  bright  yellow  in  i  pint 
of  water. 

Dissolve  y^  oz.  of  dull  yellow  in  i  pint  of 
water. 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Use  6  tablespoonfuls  of  bright  yellow 
dye,  4  tablespoonfuls  of  dull  yellow  dye,  i  yz 
tablespoonfuls  of  dark  blue  dye  to  6  yds.  of 
cloth. 

Mordants  :     Same  as  in  No.  i. 


Rich  dull 
yellow 


Dark  tan 
yellow 


Light 
olive  tan 


HAND-LOOM  WE  A  VING 


Old  ivory 


Rich  navy 
blue 


Dark 

Persian 

blue 


Gobelin 
blue 


oz  of  drab  in  i  pint  of  water. 
oz.  of  dull  red  in  i  pint  of 


NO.  II.      OLD   IVORY 

Dissolve  14  oz.  of  bright  yellow  in  i  pint 
of  water. 

Dissolve 

Dissolve 
water. 

Use  i  teaspoonful  of  yellow  dye,  and  i 
teaspoonful  of  drab  dye,  and  ^  teaspoonful 
of  dull  red  dye  to  6  yds.  of  cloth. 

Mordants  :     Same  as  in  No.  i  . 

NO.   12       RICH   NAVY   BLUE 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Use  full  pint  measure  of  dark  blue  dye 
to  6  yds.  of  goods. 

Mordants:  i  oz.  sulphuric  acid,  3  oz. 
Glauber  salts.  Boil  i  hour. 

NO.  13.      DARK   PERSIAN   BLUE 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Dissolve  ^  oz.  of  green  in  i  pint  of  water. 

Use  10  tablespoonfuls  of  dark  blue  dye,  6 
tablespoonfuls  of  green  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  12. 

NO.   14.      GOBELIN    BLUE 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 


DIRECTIONS  FOR  DYEING 


79 


Dissolve  y±  oz.  of  green  in  i  pint  of  water. 
Use  6  tablespoonfuls  of  dark  blue  dye,  4 
tablespoonfuls  of  green  dye  to  6  yds.  of  cloth. 
Mordants:     Same  as  in  No.  12. 

NO.   15.      LIGHT   GRAY   BLUE 

Dissolve  i  oz.  of  dark  blue  in  i  pint  of 
water. 

Dissolve  y±  oz-  °f  green  in  i  pint  of  water. 

Use  3  tablespoonfuls  of  dark  blue  dye,  2 
tablespoonfuls  of  green  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  12. 


LIGHT   SAGE   GREEN 


oz.  of  green  in  i  pint  of  water. 
oz.  of  bright  yellow  in  i  pint 


NO.  1  6. 

Dissolve 

Dissolve 
of  water. 

Dissolve  l/4  oz.  of  dull  red  in  i  pint  of 
water. 

Use  10  tablespoonfuls  of  green  dye,  2 
tablespoonfuls  of  bright  yellow  dye,  and  1  1/2 
tablespoonfuls  of  dull  red  dye  to  6  yds.  of 
cloth. 

Mordants  :     Same  as  in  No.  i  . 

NO.   I/.      LIGHT   OLIVE 

Dissolve  y±  oz.  of  green  in  i  pint  of  water. 
Dissolve  y±  oz.  of  bright  yellow  in  i  pint 
of  water. 


Light 

gray  blue 


Light  sa 
green 


Light  olive 


8o 


HAND-LOOM  WEAVING 


Dark  moss 
green 


Golden 
brown 


Dissolve  y±  oz.  of  dull  red  in  i  pint  of 
water. 

Use  1 6  tablespoonfuls  of  green  dye,  4 
tablespoonfuls  of  bright  yellow  dye,  and  3 
tablespoonfuls  of  dull  red  to  6  yds.  of  cloth. 

Mordants :     Same  as  in  No.  i . 

NO.   1 8.      DARK   MOSS   GREEN 

Dissolve  2  level  teaspoonfuls  of  green  in 
i  pint  measure  of  water. 

Dissolve  y^  oz.  of  bright  yellow  in  i  pint 
of  water. 

Use  full  pint  measure  of  green  dye  and 
15  tablespoonfuls  of  bright  yellow  dye  to  6 
yds.  of  cloth. 

Mordants :  3  oz.  of  Glauber  salts  and  i  oz. 
of  sulphuric  acid.  Boil  ^  of  an  hour. 

NO.  19.      GOLDEN   BROWN 

Dissolve  y±  oz.  of  dull  yellow  in  i  pint  of 
water. 

Dissolve  *4  oz.  of  dull  red  in  i  pint  of 
water. 

Dissolve  y^  oz.  of  green  in  i  pint  of  water. 

Use  20  tablespoonfuls  of  dull  yellow  dye, 
5  tablespoonfuls  of  dull  red  dye,  15  table- 
spoonfuls  of  green  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  18. 


DIRECTIONS  FOR  DYEING 


8l 


NO.  2O.       DARK    BRONZE 


oz.  of  green  in  i  pint  of  water. 
oz.  of  dull  red  in   i  pint  of 

oz.  of  dark  blue  in   i   pint  of 
oz.  of  bright  yellow  in  i  pint 


Dissolve 

Dissolve 
water. 

Dissolve 
water. 

Dissolve 
of  water. 

Use  8  tablespoonfuls  of  green  dye,  12 
tablespoonfuls  of  dull  red  dye,  4  tablespoon- 
fuls of  dark  blue  dye  to  6  yds.  of  cloth. 

Mordants:     Same  as  in  No.  18. 

Redip  in  4  tablespoonfuls  of  green  dye 
and  5  tablespoonfuls  of  bright  yellow  dye. 

Mordants:     Repeat  the  one  above. 

"  These  formulas  can  be  taken  as  the  basis 
of  many  other  tones  and  shades  which  can 
be  secured  by  a  slight  alteration  of  propor- 
tions. By  adding  a  trifle  more  dull  red, 
green,  indigo,  or  drab  liquid  dyes,  a  color 
can  be  darkened.  By  using  less  of  these 
than  the  formulas  call  for,  the  colors  will  be 
lighter.  By  using  more  of  dull  or  bright 
yellow  a  color  can  often  be  made  richer  with- 
out darkening  it.  Beginners  are  cautioned 
against  making  changes  until  they  become 
familiar  with  the  dyes.  In  making  new 
experiments,  try  them  on  yard  lengths, 


Dark 
bronze 


These 
formulas 
are  the 
basis  for 
numerous 
tones 


82 


HAND-LOOM  WEAVING 


carefully  subdividing  any  given  formula  for 
both  dyes  and  mordants,  and  increasing  the 
proportion  of  any  particular  color  desired. 
If  the  cloth  should  fail  to  take  up  the  dye 
properly  after  boiling  the  full  time,  increase 
the  quantity  of  acid,  lifting  the  cloth  out 
when  adding  the  acid  to  the  dye  bath." 

Excellent  suggestions  by  Miss  Albee  for 
color  schemes  in  stripes  may  be  found  on 
pages  64  and  65. 

[Mrs.  Albee  is  prepared  to  furnish  any  of 
the  foregoing  dyes  at  20  cents  an  ounce.  Her 
address  is  Mrs.  Helen  R.  Albee,  Pequaket, 
Silver  Lake  P.  O.,  N.  H.] 


A  deep 

blue  wool 

rug  made 

of  carpet 

yarn 


METHODS  OF  SPLICING 


METHODS  OF  SPLICING  MATERIALS 
FOR  WEAVING 

CUCH  materials  as  carpet  and  oriental 
wools,  fine  worsteds,  carpet  ravelings, 
darning  and  knitting  cotton  should,  in  splic- 
ing, be  run  past  each  other.  In  weaving,  run 
the  wool  through  the  warp  to  the  very  end. 
Start  the  new  piece  a  few  warp  threads  back, 
being  careful  to  go  over  and  under  exactly 
the  same  warp  threads  as  you  did  when  fin- 
ishing the  end.  As  you  pass  these  threads 
you  will  find  that  you  are  taking  up  the 
right  warp  threads,  and  that  no  mistake  has 
been  made.  It  is  best  to  run  the  threads 
past  each  other  in  the  middle  of  the  mat  rather 
than  on  the  sides.  The  children  learn  this 
method  of  splicing  very  quickly  and  the 
result  is  much  more  satisfactory  than  knot- 
ting, because  the  back  of  the  rug  or  mat  will 
be  smooth.  As  Mrs.  Wiggin  says:  "There 
should  never  be  a  wrong  side  to  work  any 
more  than  there  should  be  to  folks." 

In  splicing  .such   materials  as   silkoline, 
rags,  candle-wicking,  chenille,  and  macreme 


Woolens, 
fine 

worsteds, 
ravelings, 
and 
cottons 


Silkoline, 
cheese 
cloth,  raffs 


HAND -LOOM  IV E  A  VING 


Candle- 

wicking, 

chenille, 

and 

macreme 
cord 


German- 
town  wool, 
heavy 
worsteds, 
and 
rope  silk 


Raffia 


cord,  lay  the  end  of  one  piece  over  another, 
each  lapping  about  one-quarter  inch,  and  sew 
securely  with  silk  or  thread  of  like  color. 
Cut  off  the  selvedge  ends  of  rags.  These 
strips  can  be  run  past  each  other,  but  the 
work  will  not  be  so  smooth. 

In  splicing  Germantown  wool,  heavy  wor- 
steds, or  rope  silk,  thread  a  worsted  needle 
with  one  strand  obtained  by  unwinding  the 
wool  or  silk,  lay  one  end  over  the  other,  and 
sew  over  and  over.  Twist  the  part  just  sewn 
between  the  thumb  and  finger  and  the  splic- 
ing will  be  hardly  visible. 

When  weaving  stripes,  splice  the  wool  so 
that  the  piecing  will  come  on  top  of  the  rod. 
In  this  way  the  new  color  will  start  at  the 
edge  of  the  rug,  as  it  should,  and  the  number 
of  loops  on  the  rod  will  be  the  same  on  each 
side.  Consider  the  under  side  of  the  weaving 
as  the  right  side.  It  is  always  smoother  and 
cleaner,  and  the  splicing  can  be  done  more 
neatly  on  top  of  the  rod. 

Splicing  raffia  is  the  most  difficult  of  all, 
and  the  method  used  in  braiding  and  basket 
weaving  is  the  best.  As  you  near  the  end  of 
a  strip  in  weaving  it  usually  becomes  nar- 
rower. Find  another  strip  having  a  narrow 
end,  and  place  one  over  the  other,  securing, 
if  necessary,  by  winding  a  very  narrow  piece 


METHODS  OF  SPLICING 


-just  a  thread  torn  from  a  long  piece  —  and 
fastening  this  by  sewing  a  few  times  over 
and  over.  Or,  the  two  narrow  ends  may  be 
run  past  each  other,  as  in  carpet  ravelings. 
Care  should  be  taken  to  have  the  splicing  the 
same  width  as  the  other  parts  of  the  weav- 
ing, so  that  the  spliced  parts  will  not  be 
noticeable. 

Leather,  leatherette,  and  celluloid  strips 
should  be  long  enough  to  extend  the  entire 
width  and  length  of  the  frame  without  splic- 
ing. The  ends  can  be  cut,  as  is  done  in 
paper  weaving,  or  turned  in  some  pretty 
way  like  that  in  the  splint  work. 


Leather, 

leatherette, 

and 

celluloid 

strips 


86 


HAND-LOOM  IV E A  VING 


Plain  rug 

with  end 

stripes 


Silkoline 

rug  with 

three 

white 

stripes 


Q5ight 

WOOL   AND   SILKOLINE   RUGS 
OR   MATS 

C  ILKOLINE  rugs  or  mats  are  by  far  the 
prettiest  for  doll-house  use.  The  method 
of  preparing  the  strips  is  explained  under 
Materials  (page  51).  Make 
the  warp  with  twine  of  the 
same  color  as  the  silkoline. 
It  should  be  a  three-eighths- 
inch  warp.  Choose  a  plain 
color  for  the  body  of  the  rug, 
and  a  short  distance  from 
each  end  weave  several 
stripes  of  a  contrasting  color. 
The  rug  in  the  illustration 
is  of  deep  cardinal.  The 
stripes  can  be  of  olive  green, 
black,  or  any  preferred  color. 
Mottled  stripes  are  also  attractive  and 
effective.  When  the  stripes  at  the  foot  are 
woven,  ascertain  the  distance  from  the  foot 
piece  to  the  last  one.  To  know  where  to 
commence  the  first  stripe  at  the  head,  meas- 
ure the  distance  just  found  from  the  head 
piece  down,  and  mark  on  both  rods  by  tying 


SILKOLINE  R  UGS  OR  MA  TS 


or  sewing  a  colored  string  to  the  warp. 
This  helps  the  child  to  understand  where 
the  stripe  should  begin,  which  he  soon 
learns  to  measure  for  himself;  and  this 
training  in  accuracy  and  independence  is 
most  excellent.  There  is  nothing  better  than 
learning  self-reliance,  and  the  child  who  has 
been  taught  it,  is  not  apt  to  ask  others  to  do 
his  examples  for  him.  To  learn  the  man- 
ner of  making  the  stripes  and  spaces  each 
of  the  same  width,  count  the  loops  on  the 
rods  (one  has  to  weave  twice  across  the  loom 
to  have  one  loop  on  a  rod),  and  have  the  same 
number  on  each  side.  Care  should  be  taken 
not  to  twist  the  strips  in  weaving.  The 
method  of  splicing  the  strips  and  fastening 
the  warp  strings  is  explained  in  Chapter  V. 
The  rug  may  be  finished  with  a  wool  or  silk 
fringe  of  the  predominating  color,  or  a  fringe 
of  the  combined  colors.  If  desired,  it  may  be 
left  plain,  catching  the  woof  strips  together 
at  each  end  to  conceal  the  warp  strings. 
When  a  mistake  has  been  made,  run  the 
needle  back  under  the  same  strings  instead 
of  pulling  out  what  is  wrong.  It  prevents 
stretching  and  a  destruction  of  the  material. 
Mottled  rugs  are  made  of  figured  silko- 
line.  Choose  oriental  colors,  no  matter  how 
gaudy  the  silkoline  may  look  in  the  piece. 


Finishing 
the  ends 


Mottled 
rugs  made 
ofjfigured 
silkoline 


88 


HAND-LOOM  IV E A  VING 


A  mottled 
rug  of 
figured 
silKoline, 
in  which 
(he  colors 
brown, 
blue,  and 
old  gold 
predomi- 
nate 


It  will  have  a  beautiful  effect  when  woven. 
Portieres    are    pretty    made    in    this    way. 


These  rugs  should  always  be  plain  —  that  is, 
without  stripes. 


SILKOLINE  RUGS  OR  MATS 


89 


Plain  rugs  with  mottled  borders,  or  mot- 
tled rugs  with  plain  borders,  are  the  delight 
of  the  children.  Adjust  the  frame  for  the 
size  required,  and  decide  how  wide  the  border 
is  to  be.  It  is  necessary  to  have  an  extra 
pair  of  rods,  if  one  desires  a  smooth  and  well- 
finished  rug.  The  border  of  the  rug  repre- 
sented in  the  illustration  is  two  inches.  This 
should  be  woven  with  a  tape  needle.  Weave 
the  border  at  the  foot  of  the  loom.  This 
extends  the  entire  width.  Place  the  extra 
rods  two  inches  toward  the  center  from  the 
side  rods  on  the  outside  of  the  rug,  keeping 
them  back  of  the  border  already  woven  at  the 
foot.  This  will  outline  the  sides  of  the  plain 
oblong  in  the  center.  Weave  the  left  and 
right  hand  borders  up  to  a  point  two  inches 
from  the  head  piece,  taking  care  to  go  around 
the  rods  just  placed.  Then  begin  the  plain 
center.  As  you  come  to  the  border  on  each 
side,  run  your  tape  needle  through  the  loops 
of  mottled  silkoline  which  are  around  the  rod, 
but  do  not  go  around  the  rod  itself  with  the 
plain  silkoline,  since  doing  so  would  make  a 
ridge  in  the  rug.  Draw  the  woof  strips 
tightly  and  firmly,  so  that  the  work  will  lie 
flat  and  smooth  when  removed  from  the 
loom.  Be  sure  to  weave  the  center  far 
enough,  remembering  that  the  upper  woof 


Plain  rugs 
with 
mottled 
borders,  or 
mottled 
rugs  with 
plain 
borders 


HAND-LOOM  WEAVING 


strips  in  the  border  will  crowd  it  down. 
When  the  center  is  finished,  remove  the 
extra  rods  and  finish  weaving  the  border  to 


SfLKOLIXE  RUGS  OR  MATS 


the  head  piece.  In  selecting  a  color  for  the 
center,  match  one  of  the  colors  in  the  figured 
silkoline.  The  color  for  the  center  in  the 
rug  of  the  illustration  on  page  90  is  green, 
and  the  same  color  appears  also  in  the  mot- 
tled border,  with  yellow  and  brown.  The 
ends  should  be  left  plain,  the  warp  strings 
being  concealed  as  directed.  These  rugs  are 
very  beautiful,  and  can  be  made  in  an  infinite 
variety  through  the  use  of  different  colors, 
and  by  reversing  the  center  and  border. 
They  can  be  made  of  carpet  or  Germantown 
wool,  in  two  colors  or  in  two  tones  of  one 
color.  In  weaving  rugs  with  centers  and 
borders,  weave  a  little  farther  than  the  exact 
measure,  because  the  next  woof  threads  will 
push  down  the  woof  already  made,  and  you 
may  find  that  you  have  not  woven  the  cor- 
rect measure.  These  rugs  are  useful  as  "heel 
rugs",  they  are  placed  under  the  piano  near 
the  pedal  to  protect  the  carpet  from  the 
pressure  of  the  heel.  (See  also  page  82.) 

Adjust  the  loom  for  the  size  required. 
The  plaid  effect  in  the  holder  illustrated  on 
page  92  is  obtained  by  stringing  a  close  warp 
with  green  and  white  carpet  wool,  alternating 
two  of  white  with  four  of  green.  In  weav- 
ing, use  two  woof  threads  of  white  and  four 
of  green  to  make  the  square  correct.  The 


Holder  or 
mat 


92 


HAND-LOOM  WE  A  VING 


kindergarten 
designs  make 
pretty  holders. 
If  you  have 
woven  a  hold- 
er, it  will  be 
finished  when 
it  is  removed 
from  the  loom 
and  the  warp 
strings  have 
been  fastened. 
If  you  wish 
your  holder  to 
be  very  thick,  weave  two  of  these  pieces, 
lay  a  square  of  felt  or  flannel  between  and 
sew  or  crochet  the  edges  together.  If  the 
work  is  to  be  a  mat,  knot  a  pretty  fringe  all 
around  it.  Many  of  these  squares  can  be 
joined  to  make  sofa  pillows,  afghans,  slum- 
ber robes,  and  other  dainty  articles.  With  a 
continuous  warp,  one  can  weave  long  strips 
for  the  same  articles.  If  a  small  rug  for  Miss 
Dolly's  bedroom  is  desired,  string  the  warp 
so  that  the  two  ends  will  have  a  fringe. 
vStair  and  hall  carpets  for  the  doll  house  can 
be  woven  in  these  pretty  designs  by  adjust- 
ing the  loom  for  a  narrow  strip,  and,  if  nec- 
essary, a  continuous  warp. 


Holder  of 

green 

and  white 

carpet 

wool 


Many 

squares 

joined 

together 


Sniall  rug 

with 

fringe 


Stair 

and  hall 

carpets 


HAMMOCKS 


93 


HAMMOCKS 

'T^O  weave  a  hammock,  one  must  first 
adjust  the  loom  to  its  full  size.  Tie  two 
rings  together  and  fasten  them  at  the  back  of 
the  loom,  to  head,  foot,  and  sides,  as  in  the 
illustration.  One  must  then 
decide  how  close  the  warp  is 
to  be  strung.  Measure  the 
string,  which  should  be  con- 
tinuous, allowing  enough  to 
go  to  the  rings  at  the  back 
and  make  a  buttonhole  stitch 
each  time.  Then  wind  on  a 
long  thin  stick  or  dress  steel, 
in  such  a  way  that  it  will  pass 
easily  through  the  rings.  In 
stringing  the  hammock  in 
the  illustration,  a  penholder 
was  used.  The  rings  are  tied,  with  white 
cord,  to  the  four  sides  of  the  loom.  By  doing 
this,  all  tangling  of  the  warp  string  is 
avoided,  and  it  is  far  preferable  to  splicing. 
Tie  the  first  warp  string  to  the  top  ring. 
Draw  it  tightly  through  the  first  groove, 


Method 
of  adjust- 
ment 


Back  of 

loom, 

showing 

method  of 

stringing 

warp 

through 

rings  for-  a 

hammock 


94 


HAND- LOOM  WE  A  VING 


Use  of 

stripes  for 

various 

colors 


Length- 
wise 
stripes 


over  the  face  of  the  loom  to  the  opposite 
groove,  then  to  the  back  of  the  loom  through 
the  bottom  ring.  Make  a  buttonhole  .stitch 
and  return  in  the  same  manner  over  the 
face  of  the  loom,  around  to  the  top  ring, 
where  you  make  a  buttonhole  stitch  and 
return,  until  the  whole  warp  is  strung.  Care 
should  be  taken  to  make  it  firm  and  tight. 
Hold  the  string  and  ring  firmly  in  the  left 
hand  while  making  the  buttonhole  stitch 
with  the  right.  Cut  the  woof  cords  long 
enough  to  allow  a  fringe  on  each  side  of 
the  hammock.  Weave  each  cord  separately, 
tying  in  pairs  around  the  rods.  Stripes  of 
one  or  more  colors  can  be  woven  at  each  end 
or  at  intervals  through  the  hammock.  By 
weaving  two  colors  alternately,  the  stripes 
will  be  lengthwise  instead  of  crosswise. 
Knot  the  fringe  at  each  side.  To  fasten  the 
top  and  bottom  woof  cords  so  that  they  will 
not  pull  out  of  place,  thread  a  tape  needle 
with  cord  and  tie  each  warp  string  close  to 
the  woof.  Another  way  to  secure  the  top 
and  bottom  woof  cords  is  to  weave  two  cords 
at  one  time,  twisting  one  over  the  other 
between  the  warp  strings.  The  bottom  one 
should  be  woven  before  the  hammock  is 
commenced.  The  top  one  can  be  woven 
before  the  hammock  is  finished,  and  pushed 


HAMMOCKS 


95 


up  close  to  the  head  piece.     Then  fill  up  the 
space. 

Instead  of  knotting"  the  fringe  as  sug- 
gested, two  cords  can  be  twisted  at  each  side 
of  the  hammock  in  the  same  way  that  the 
woof  cords  are  secured  at  the  top  and  bot- 
tom. This  forms  a  heading  for  the  fringe. 
Take  up  two  cords  of  the  fringe  at  a  time. 
If  desired,  the  strings  which  extend  from  the 
rings  to  the  hammock  may  be  woven  for  the 
space  of  an  inch  or  so  close  to  the  rings 


the 

fringe 


96 


HAND-LOOM  WE  A  VING 


The 
stretcher 


The 
head-rest 


Hammock 
•with 

lengthwise 
colored 
stripes 

Knotted 
hammocks 


To  string 

warp  for 

hammock 

in  order  to 

have  the 

sides 

shorter 

than  the 

center 


instead  of  making  a  buttonhole  stitch.  Make 
a  stretcher  for  the  head  by  covering  a  piece 
of  rattan  with  buttonhole  stitch.  Fasten  this 
to  the  hammock.  A  head-rest  can  also  be 
woven  and  adjusted.  To  remove  the  ham- 
mock from  the  loom,  cut  the  two  rings  apart, 
and  then  lift  the  warp  strings  from  the 
grooves.  A  very  pretty  hammock  can  be 
made  by  stringing  the  warp  of  different 
colors,  in  order  to  make  lengthwise  stripes. 
Weave  a  neutral  color  through  them.  In  this 
case,  have  a  close  warp.  Pretty  hammocks 
can  be  made  by  knotting  instead  of  weaving. 
Cut  two  semi-circular  pieces  from  light 
wood  or  pasteboard.  These  should  suit  the 
width  of  the  hammock  to  be  made.  If  this 
is  the  width  of  the  loom,  then  9^3  inches 
long  and  two  inches  at  the  widest  part.  Cut 
the  curved  edge  in  notches  to  correspond 
with  the  number  taken  in  the  head  piece. 
These  pieces  will  be  firmer  and  more  satis- 
factory if  made  of  wood  and  finished  at  the 
lower  edges  like  the  metal  head  piece.  This 
can  be  easily  done  by  glueing  them  to  a  nar- 
row piece  of  wood  so  that  they  will  stand. 
If  furnished  with  perforations,  they  can  be 
laced  to  the  head  and  foot  pieces  or  the  rods 
can  be  run  through  them.  By  stringing  the 
warp  in  this  way,  the  sides  of  the  hammock 


HAMMOCKS 


97 


will  be  shorter  than  the  center,  and  there 
will  be  no  danger  of  Miss  Dolly  falling  out. 
The  warp  can  be  strung  more  quickly  and 
easily  if  hammock  hooks  similar  to  those  in 
the  two  illustrations  below  are  used.  Meas- 
ure the  right  length  —  22  warp  strings  31 
inches  long  for  the  metal  loom,  or  29  the 
same  length  for  the  wooden  loom  —  and 
wind  as  before. 

In  using  hammock  hook  No.  i,  knot  half 
the  number  of  warp  strings  in  the  left-hand 
ring  and  half  in  the  right- 
hand  ring.  If  hook  No.  2  be 
used,  unpin  the  part  at  the 
right,  knot  the  warp  strings 
along  the  straight  edge  at 
the  bottom,  and  then  pin 
the  right-hand  part  again. 
Weaving  each  cord  separately  across  the 
loom  makes  a  heavy  fringe  at  the  sides.  If  a 
lighter  fringe  be  desired, 
cut  the  woof  cords  twice 
the  width  of  the  loom 
plus  twice  the  length  of 
the  fringe.  Weave  across  - 
the  loom,  leaving  enough  ^ «— — • ^ 
for  the  fringe  at  the  side,  then  around  the 
rod  and  back  again,  drawing  the  cord  through 
to  the  same  length  as  the  part  left  at  first. 


Hammock 
/woks 


Hook 

No.  i 


Hook 

NO.  3 


9* 


HAND-LOOM  WEAVING 


Weaving 


A  square 
Of  Silk 


Weave  in  the  same  way  with  the  second 
color,  having  the  loop  on  the  same  rod  and 
the  fringe  at  the  same  side  as  the  other. 
Weave  the  next  two  cords  with  loops  on 
the  opposite  rod  and  fringe  on  the  opposite 

side.  Continue  in 
^  this  way  until  the 
hammock  is  fin- 
ished. Make  a 
heading  at  the 
sides  as  described, 
only  carry  the  two 
cords  through  the 
loops,  crossing 
#.  them  between  on 
top  of  the  rods. 
The  warp  strings 
can  be  passed 
k:  through  the  rings 
without  buttonholing.  A  firm  pretty  finish 
can  be  made  at  the  sides  by  cutting  two 
cords  —  one  of  each  color  two  yards  long  and 
buttonholing  around  the  rods  on  top  of  the 
woof  cords  which  extend  at  each  side.  Fas- 
ten these  long  cords  at  the  bottom  of  the 
loom.  After  two  pairs  of  woof  cords  have 
been  tied,  buttonhole  the  edge  over  them 
and  around  the  rods  and  continue  this  until 
the  hammock  is  finished. 


FA  CE  A  ND  DISH  CLO  THS  A  ND  BA  TH  R  UGS      99 


FACE   AND   DISH   CLOTHS  AND 
BATH   RUGS 


'T^HE  materials  for  making  face  and  dish 
cloths  are  :  cheese  cloth  cut  bias,  darn- 
ing  or  knitting  cotton,  or  candle-wicking. 
Those    made    from    ,     . 
cheese   cloth  resem-  < 
ble  the  Turkish  rags.  ( 
Cut   and   splice   the 
cheese  cloth  accord-  i 
ing  to  directions  on   .! 
page   83.     The   face  ' 
cloth  in  the  illustra-  ' 
tion    is    made   from    • 
white    cheese   cloth,   ; 
cut  bias.    String  the 
warp  ^   inch   with 
white  twine.     It  be--  ; 
ing    desirable   to; 
have  face  and   dish  ^**~>"«^~.  ,_**..   ^,^ 
cloths  as  soft  as  possible,  do  not  push  the 
woof  threads  too   closely  together.    When 
the  cloth  is  removed  from  the  loom,  conceal 
the  ends  of  the  warp  strings  as  previously 


Materials 


A  face 
cloth  made 
front 
cheese 
cloth 


TOO 


HAND-LOOM  WE  A  VING 


Bath  rug 

made  with 

continuous 

warp 


A  pattern 

for  a 

floor  rug 


directed.  Fine  white  thread  should  be  used. 
If  preferred,  the  edges  can  be  bound  with 
tape.  Cloths  of  candle-wicking  are  very 
quickly  woven,  but  they  a.re  not  so  soft. 

Face  cloths  of  cheese  cloth  with  borders  of 
knitting  cotton  would  be  durable  and  satis- 
factory. Make  them  according  to  directions 
given  for  rugs  with  centers  and  borders. 

Cross-barred  face  cloths  made  of  knitting 
cotton  No.  4,  in  two  colors,  are  very  pretty. 

Serviceable  bath  rugs  can  be  made  by 
making  three  strips  as  long  as  desired,  and 
then  fastening  together.  They  are  made  of 
cheese  cloth  cut  bias,  but  the  woof  threads 
are  packed  much  tighter  than  in  the  face 
cloths.  Finish  the  edges  by  stitching  a 
white  tape  all  around.  Floor  rugs  of  any 
kind  can  be  made  firmer  by  finishing  in  this 
way  with  tape  of  the  same  color. 


RAFFIA   MATS 


ior 


RAFFIA   MATS 

TV  /["  ATS  of  raffia  are  made  like  all  the  other 
mats.  The  warp  may  be  of  twine  or 
carpet  thread.  In  this  case,  the  mat  should 
be  woven  of  raffia  in  the  natural  color,  with 
stripes  of  bright  color  at  each  end ;  or,  it 
may  be  of  some  dark  tone  with  stripes  of  a 


Method  of 
making 
raffia 
mats 


Method  of  weaving  a  raffia  mat  on  the  loom,  showing  colored  stripes 


70,? 


HAND-LOOM  WE  A  VING 


contrasting  color.  By  using  a  warp  of  raffia, 
many  of  the  beautiful  kindergarten  designs 
can  be  produced.  Use  one  color  for  the  warp 
and  another  for  the  woof.  The  method  of 
stringing  a  warp  of  raffia  is  described  in 
"Methods  of  Stringing  Warp,"  on  page  45. 
The  illustration  shows  a  raffia  mat  in  process 
of  making.  The  natural  color  of  raffia  is 
used,  with  stripes  of  cardinal,  and  the  method 
of  stringing  color  in  the  warp  to  obtain  this' 
effect  is  clearly  seen.  The  children  will 
have  no  difficulty  in  carrying  out  the  pattern, 
if  they  remember  that  the  rods  correspond  to 
the  border  of  the  paper  mat.  Before  stringing 
the  warp  for  a  kindergarten  pattern,  count 
the  strips  in  the  paper  mat  and  begin  to 
count  on  the  loom  from  the  rods.  In  this 
kind  of  work  the  string  on  top  of  the  rod 
does  not  count.  It  forms  the  border  of  the 
mat. 

In  making  mats,  or  matting,  of  raffia,  the 
material  can  be  carried  over  the  rods  as  in 
wool-weaving,  or  it  can  be  finished  on  the 
edges  in  the  same  way  as  the  real  matting 
is  done.  This  will  be  easily  understood  by 
examining  a  piece  of  matting.  In  stringing 
the  warp,  have  three  strings  over  each  bar 
instead  of  one.  Cut  the  woof  strips  several 
inches  longer  than  the  width  of  the  loom. 


The  rods 
and  the 
warp 
strings 
in  kinder- 
garten 
patterns 


Stringing 
the  warp 


A  woven  mat  of  raffia^  from  a  kindergarten  pattern  in  green 
and  the  natural  color  of  the  raffia 


104. 


HAND-LOO. If  WE  A  VING 


Porch 
curtains 


Glove, 

trinket, 

and 

mouclwir 
boxes 


Weave  the  first  strip,  leaving  a  piece  at  each 
side.  Thread  a  tape  needle  with  one  end 
and  weave  it  in  and  out  the  three  warp 
threads  on  the  rod.  Then  cut  it  off  close  to 
the  edge.  Finish  off  all  the  ends  in  this 
way.  When  the  work  is  removed  from  the 
loom,  press  the  edges  flat  with  a  warrn  iron. 
It  is  a  little  easier  to  keep  the  pattern  right 
by  weaving  in  this  way,  and  the  work  resem- 
bles the  real  matting  more  nearly.  Use  a 
tape  needle  for  weaving  raffia. 

If  the  doll  house  which  we  are  fitting  is 
a  large  one  with  porches,  one  could  complete 
the  furnishings  with  a  porch  curtain,  for 
sunny  afternoons. 

Boxes  of  all  kinds  can  be  made  of  raffia 
woven  in  panels.  It  will  make  the  box 
stronger  and  firmer  to  overhand  a  piece  of 
rattan  around  the  edges  of  the  panels  before 
joining  them  in  the  form  of  a  box.  Thread  a 
worsted  needle  with  a  narrow  strip  of  raffia 
and  buttonhole  the  edges  of  the  panels 
together;  or,  sew  them  over  and  over  and 
cover  with  a  braid  of  raffia.  Spiral-weaving 
is  pretty  for  this  finishing.  It  is  described 
in  an  article  entitled  "  Straw- Weaving,"  in 
"American  Homes"  for  September,  1900,  a 
magazine  published  in  Knoxville,  Tenn. 
Glove,  trinket,  and  mouchoir  boxes  are  pretty 


RAFFIA   MATS 


105 


for  holiday  gifts.  By  using-  different  patterns 
and  colors  a  great  variety  of  them  can  be 
made. 

For  rugs  made  of  carpet  wool,  string  a 
three-eighths-inch  warp  of  twine,  or  oriental 
cord,  the  color  of  the  body  of  the  rug.  Use 
a  deep  tone  of  red,  olive  green,  or  any  pre- 
ferred color,  with  a  stripe  at  each  end.  A 
study  of  rugs  will  soon  enable  one  to  get  the 
right  proportion  of  rug  and  stripe.  Beau- 
tiful rugs  are  made  with  a  succession  of 
Roman  stripes  separated  by  a  narrow  one 
of  deep  red,  green,  or  blue,  the  ends  of  the 
rug  being  woven  of  the  same  color.  Center 
and  corner  patterns  can  be  woven  by  placing 
the  pattern  under  the  warp.  By  stringing 
a  close  warp  of  the  same  material  all  the 
designs  for  paper-weaving  can  be  easily 
reproduced.  Lengthwise  stripes  are  also 
pretty.  String  the  warp  with  different  colors 
and  weave  a  neutral  color  through  them. 
The  rug  in  the  frontispiece  is  woven  of  heavy 
carpet  wool,  some  of  which  is  seen  on  the 
table. 

Beautiful  patterns  for  rugs  can  be  made 
by  cutting  squares  and  triangles  of  paper 
according  to  directions  given  in  the  "  Kin- 
dergarten Guides."  The  "  Paradise  of  Child- 
hood" has  some  very  pretty  ones.  There 


Rugs  of 

carpet 

ivool 


Patterns 
for  rugs 


io6 


HAND-LOOM    WE  A  VING 


are  two  fundamental  forms 
for  this  paper-cutting.  The 
first  is  made  from  a  nine-inch 
square.  Fold  one  diagonal, 
place  the  right  acute  angle 
upon  the  left  so  as  to  produce 
four  triangles  resting  upon 
each  other.  The  form  now 
lies  before  you  with  the  right 
angle  at  the  right  and  two 
acute  angles  (one  on  top  of  the  other)  at  the 
left.  Lift  one  of  these  acute  angles  and 
place  on  top  of  the  angle  at  the  back,  creas- 
ing the  fold ;  then  fold  the  remaining  acute 
angle  under  to  the  same  angle  at  the  back, 
creasing  as  before.  Now  place  the  form  with 
the  right  angle  at  the  back  and  hold  all  the 
open  edges  to  the 
left  while  cutting. 
Illustrations  in 
the  "Kindergar- 
ten Guides"  show 
a  network  drawn 
on  the  triangle  at 
the  top  as  an  aid 
to  transferring 
the  pattern. 

The   second  fundamental  form   is   made 
from  a  six-fold  equilateral  triangle.     Direc- 


A  rug 

pattern 

from 

a  square 


Funda- 
mental 
form 
No.  i 


A  rug 
pattern 
from  an 
equilat- 
eral 
triangle 


RAFFIA   MATS 


IOJ 


tions  for  folding  and  cutting  this  from  the 
square  are  given  in  the  "  Paradise  of  Child- 
hood." It  can  be  cut,  also,  from  a  circle 
whose  diameter  is  equal  to  the  width  of  the 
rug  desired.  In  drawing  and  cutting  the 
pattern,  hold  the  form  with  the  entirely 
open  sides  toward  you.  The  whole  pattern  is 
cut  at  once  and  the  unfolding  often  reveals 
a  charming  design  for  a  rug,  which  can  be 
woven  in  tones  or  contrasting  colors.  If  cut 
from  colored  paper,  it  can  be  mounted  on 
white  and  placed  under  the  warp.  Beautiful 
original  designs  in  conventional  leaf  and 
flower  patterns  can  also  be  made. 

To  make  a  conventional  leaf  form,  use 
fundamental  form  No.  i.  Cut  the  leaf  on 
the  mid-rib  and  lay  this  part  on  the  base  of 
the  triangle  with  the  point  of  the  leaf  on  the 
open  edges  at  the  left,  and  the  stem  on  the 
closed  part  at  the  right.  Draw  around  the 
edges  of  the  leaf  and  cut,  taking  care  not  to 
separate  the  leaf  forms  at  the  center,  which 
is  at  the  closed  part  at  your  right  hand. 

Some  excellent  suggestions  for  this  leaf- 
cutting  in  centerpieces  and  borders  can  be 
found  in  the  "  Pratt  Institute  Monthly  "  for 
April,  1900. 

Dusters  for  hardwood  floors  are  best 
made  of  strips  of  old  flannel.  They  can  be 


Funda- 
mental 
form 
No.  2 


Conven- 
tional leaf 
forms 


Dusters 


io8 


HAND-LOOM  WEAVING 


Doll  towels 


A  doll  towel  with 
fringed  ends 


made  of  stocking  strips,  or  cheese  cloth. 
Make  two  mats  the  full  size  of  the  loom,  sew 
on  three  sides  and  run  a  gathering-string 
around  the  top.  It  will  fit  better  if  it  has  a 
piece  of  cheese  cloth  sewn  at  the  top  through 
which  the  gathering-string  can  be  run.  This 
makes  a  fine  duster  to  slip  over  a  broom. 
If  one  prefers,  a  continuous  warp  can  be 
strung — the  length  to  be  twice  the  length 
of  the  broom  part  —  and  a  long  piece  woven 
which  will  require  sewing  on  two  sides  only. 
Doll  towels  are  very  fascinating  things  to 
make.  Adjust  the  loom  for  the 
required  size.  The  exact  propor- 
tion can  be  ascertained  from  a  large 
towel.  String  the  close  warp  with 
fine  darning  cotton  and  have  the 
strings  in  pairs  with  fringe  at 
each  end.  Allow  several  inches 
for  fringe  so  that  it  can  be  knotted 
easily.  The  woof  threads,  which 
are  also  of  fine  darning  cotton, 
should  be  pushed  very  closely  and 
smoothly  together.  Plain  stripes  of 
red  or  blue,  or  fancy  stripes  made 
with  a  kindergarten  design,  can  be 
woven.  Observe  the  same  direc- 
tions for  spacing  the  stripes  which 
are  given  with  the  silkoline  rug. 


RAFFIA   MATS 


The  towel  in  the  illustration  is  made  of 
white  darning  cotton,  with  the  stripes  and 
initial  of  red.  The  children  will  be  delighted 
to  lay  towel  borders  with  their  tablets,  and 
after  cutting  and  pasting  with  colored  paper, 
weave  them  in  towels  for  Miss  Dolly's 
housekeeping.  Cross-stitch  the  initial  as 
previously  directed.  Lunch  cloths  and  bed- 
spreads can  be  made  in  the  same  way. 
These  should  be  fringed  all  around.  A 
cross-barred  cloth  or  spread  can  be  made 
by  putting  the  color  in  the  warp  at  regular 
intervals  and  weaving  across  with  color  and 
white  to  form  squares.  Pretty  quilts  of  coarse 
cotton  can  be  made  with  kindergarten  de- 
signs. By  weaving  many  squares,  a  large 
quilt  can  be  made.  See  directions  on  page  50. 

Bed  and  carriage  blankets  are  best  made 
of  single  zephyr,  although  Germantown 
wool  will  do.  The  heavy  carpet  wools  are 
also  pretty.  Some  suggestions  for  this  work 
have  already  been  given  under  the  head  of 
Materials.  These  blankets  are  really  mats, 
but  made  only  for  another  use,  and  are  to  be 
woven  in  a  similar  way.  Those  with  centers 
and  borders  are  pretty,  and  the  plaid  ones 
are  always  attractive.  (See  illustration  of 
the  holder  on  page  92.) 

For  doll  shawls  choose  a  pretty  Scotch 


Patterns 
for  towel 
borders 


Luiicli 
cloths 


Bed- 
spreads 


Quilts 


Bed  and 
carriage 
blankets 


Doll  shawls 


no 


HAND-LOOM  WE  A  VING 


Doll  skirt 


Reins 


A  square 

Tarn 

O1  Shunter 


plaid  and  match  the  colors  in  fine  wool. 
String  a  close  warp  with  wool,  copying  the 
Scotch  plaid  exactly.  Weave  the  colors 
across  so  that  a  "truly"  plaid  shawl  may 
grace  Miss  Dolly's  shoulders  on  the  cold 
winter  mornings.  A  striped  shawl  is  pretty, 
or  one  having  one  color  for  the  center  and 
another  for  the  border. 

Miss  Dolly  may  have  a  lovely  petticoat, 
too.  String  a  continuous  warp  long  enough 
for  the  width  of  the  skirt.  Adjust  the  rods 
for  the  length.  By  using  a  little  color  in 
the  warp  near  the  right  edge  of  the  weav- 
ing, the  skirt  will  have  some  stripes.  Twist 
a  cord  of  the  wool  and  run  in  the  top  for  a 
draw-string. 

To  make  reins,  adjust  for  a  narrow  strip 
and  string  a  close,  continuous  warp  the 
length  desired.  Make  a  piece,  also,  to  go 
across  the  front.  Use  Germantown  knitting 
yarn.  A  black  warp  with  a  bright  red  woof 
is  pretty. 

In  order  to  obtain  a  Tam  O'Shanter  for 
Dolly,  first  weave  a  square  the  required  size. 
String  a  close  warp  with  wool  and  weave 
a  kindergarten  pattern  with  two  colors. 
When  completed,  remove  from  the  loom,  fold 
four  corners  to  the  center,  turn  them  in  to 
form  an  opening  for  the  head,  and  fasten 


RAFFIA   MATS 


III 


the  edges  by  sewing,  or  by  lacing  with  a 
cord  made  of  the  two  colors.  Fasten  a  tassel 
on  the  top  and  it  is  finished.  Angora  wool 
is  pretty  for  these  caps. 

The  head  piece  of  the  loom  should  be 
adjusted  for  the  width  of  the  rug  for  which 
the  fringe  is  required.  A  rug  nine  inches 
wide  would  require  fringe  nine  inches  long. 
Adjust  the  rods  one  inch  apart  —  that  is,  with 
one  perforation  between  the  rods.  String 


the  warp  in  every  groove,  one  string  over 
each  rod  and  three  between,  making  five  in 
all.  Weave  over  and  under  one  until  the 
heading  is  finished.  If  you  have  an  extra 
side  rod,  place  it  in  the  sixth  perforation 
from  the  right-hand  rod.  This  will  make 
tassels  a  little  over  two  inches  long.  If  a 
shorter  fringe  is  preferred,  adjust  accord- 
ingly. If  you  have  not  an  extra  side  rod 
remove  the  left  one  and  place  as  directed, 
leaving  the  right  one  in  the  heading  until 
the  whole  fringe  is  finished.  Thread  a  large 
tape  needle  with  two  pieces  of  worsted,  as 


Fringe 


Fringe  for 
a  rug  in 
red  and 
black 


Threading 
the  needle 


JI2 


HAND-LOOM  WEAVING 


Making 

the  fringe 

into  tassels 


Removing 

the  fringe 

from  the 

loom 


long  as  the  two  can  be  conveniently  man- 
aged. If  the  fringe  is  made  of  two  colors, 
take  one  of  each  for  the  tassels,  weaving  the 
heading  with  the  one  which  predominates 
in  the  rug.  Run  the  ends  in  the  grooves  to 
fasten  them.  Wind  under  the  right  rod, 
which  was  left  in  the  heading,  through  the 
first  stitch,  which  includes  the  warp  string 
over  the  rod,  then  over  the  extra  rod  to  the 
right.  Wind  under  again  through  the  next 
stitch  in  the  heading  (always  around  the 
rod)  and  so  on  until  the  end  is  reached.  To 
make  this  fringe  into  tassels,  separate  six 
strands  of  each  color  and  tie  with  the  two 
colors,  running  the  tape  needle  and  worsted 
along  from  one  tassel  to  another,  or  tie  each 
'  one  securely  and  cut.  The  fringe  will  need 
no  finishing  at  the  ends.  Run  the  short 
ends,  which  were  wound  through  the  grooves 
in  the  beginning  in  order  to  fasten  them, 
through  a  few  stitches  in  the  heading.  The 
fringe  can  be  made  of  one  color,  and  of  any 
width.  To  take  the  fringe  from  the  loom, 
first  remove  the  rod  at  the  end  of  the  tassels 
and  cut  the  fringe  before  removing  the  rods 
from  the  heading.  This  will  insure  straight 
cutting  at  the  ends  of  the  tassels.  If  one 
prefers  a  knotted  fringe,  cut  and  knot  before 
removing  the  heading.  By  examining  rug 


RAFFIA   MATS 


fringes  in  the  furniture  .stores  one  can  get  a 
very  good  idea  of  the  manner  of  knotting. 
(See  also  directions  for  splicing  German- 
town  wool  on  page  84.) 

A  simple  fringe  can  be  knotted  quickly 
and  easily  in  the  ends  of  the  warp  strings, 
after  the  rug  is  taken  from  the  loom.  First 
decide  upon  the  length  of  the  fringe  when 
finished.  Add  at  least  two  inches  to  allow 
for  knotting.  Cut  each  piece  of  wool  twice 
this  length,  double,  and  thread  a  tape  needle. 
Pass  the  needle  from  the  right  side  of  the 
rug  to  the  wrong,  through  the  warp  strings 
at  the  end  of  the  rug.  Draw  the  loop  of 
wool  through  and  unthread  the  needle.  Pass 
the  two  ends  of  the  wool  down  through  the 
loop  and  draw  it  tight.  When  this  has  been 
done  in  every  pair  of  warp  strings,  knot 
every  other  piece  of  the  fringe  together,  in 
the  same  way  that  towel  fringe  is  made. 

This  question  of  whether  a  rug  should 
have  fringe  or  not  is  much  discussed  at  pres- 
ent. It  is  largely  a  personal  one.  The  best 
way,  perhaps,  is  to  study  different  kinds  of 
rugs  and  know  which  ones  are  usually  made 
with  fringe  and  which  are  not. 

Bed  shoes  of  all  sizes  are  easily  woven, 
and  make  a  useful  holiday  gift.  They  are 
made  without  soles  and  are  intended  to  be 


Knotting 


Bed  shoes, 
or  socks 


HAND-LOOM  WE  A  VING 


Bed  shoe* 


lied  shoes 

made  of 

white 

wool 


drawn  tip  around  the  ankle  like  a  high  moc- 
casin. Use  the  soft  double  Germantown 
wool.  White,  fastened  together  with  pink  or 
blue,  or  white  striped  with  a  color,  may  be 
used,  and  are  attractive.  The  socks  in  the 
illustration  are  of  white  wool  with  a  pink 
seam  up  the  instep  and  pink  scallops  around 
the  top.  One  sock  is  shown  on  a  last,  and  the 
other  as  it  appears  off  the  foot.  The  stripes 
in  the  knitting  can  be 
;?  shown  in  the  weav- 
K,  ;  ing  by  using  a  color. 

The  full  size  of  the 
loom  makes  a  shoe 
of  medium  size. 
String  a  close  warp 
with  white  wool.  If 
the  shoe  is  to  be  all  white, 
weave  with  the  same,  leav- 
ing the  color  for  the  finishing.  If  it  is  to  be 
striped,  weave  perhaps  eight  or  ten  times 
across  with  color  and  then  with  white ;  when 
the  weaving  is  finished  you  will  have  a  mat 
9x12  inches.  Double  one  of  the  short  edges 
and  sew  over  and  over  on  the  wrong  side 
with  white  wool.  This  is  the  toe.  The  two 
long  edges  now  lie  together.  They  may  be 
crocheted,  or  knitted,  with  colored  wool  by 
holding  them  close  and  fulling  in,  or  by 


RAFFIA    MATS 


puckering  a  little.  If  this  is  done  in  color, 
it  makes  a  pretty  seam  on  the  top  of  the  foot 
and  front  of  the  ankle.  The  top  may  be  fin- 
ished by  crocheting  a  beading  and  scallops 
of  the  colored  wool.  Run  a  ribbon  or  wor- 
sted cord  through  the  beading.  If  desired, 
the  long  edges  may  be  laced  together  with 
ribbon  one-half  inch  wide.  Baby  shoes  are 
made  in  the  same  way.  To  ascertain  what 
length  to  adjust  the  loom,  measure  the  sole, 
then  up,  back  of  the  heel,  to  a  point  above 
the  ankle.  For  the  width,  measure  around 
the  foot.  Finish  the  cord  with  tassels  or 
balls. 

To  make  worsted  balls,  first  cut  two  small 
circles  from  cardboard.  From  the  center  of 
each  cut  a  smaller  circle.  Hold  one  circle 
over  the  other,  and  with  a  worsted  or  tape 
needle  threaded  with  wool,  wind  over  and 
over  very  closely  until  the  hole  in  the  center 
is  completely  filled.  Always  piece  the  wool 
on  the  outside  edge.  Cut  the.  wool  all  around 
on  the  outside.  Make;  a  cord  of  the  wool 
and  slip  between  the  two  circles.  Then  tie 
so  as  to  fasten  all  the  pieces  of  wool  in  the 
middle,  leaving  the  cord  long  enough  to  tie 
in  a  bow  if  desired.  Tear  the  pasteboards, 
remove  them,  and  trim  the  wool  evenly.  A 
second  ball  should  be  fastened  on  the  other 


Baby  shoes 


Worsted 
balls  for 
bed  shoes, 
and  other 
articles 


HAND-LOOM  WE  A  VING 


Plioto- 

e-rap/i 

frames 


Table 
mats 


Tippet  or 
scarf 


Wristlets 


end  of  the  cord,  after  it  has  been  laced  through 
the  beading. 

To  weave  photograph  and  picture  frames 
of  silk,  chenille,  raffia,  celluloid,  or  leather, 
proceed  in  thd  same  way  as  for  a  bordered 
rug,  having  the  oblong  or  square  center  the 
required  size  for  the  picture.  Foundation 
frames  for  mounting  the  work  can  be  pur- 
chased, usually,  at  the  stores  where  tissue 
paper  and  flowers  are  sold. 

Square  and  oblong  table  mats  for  hot 
dishes  can  be  made  of  candle-wicking,  knit- 
ting cotton,  or  cheese  cloth. 

To-day,  tippets  and  scarfs  are  very  little 
used,  but  they  are  very  comfortable  things 
to  wear  to  school  on  a  cold  day.  In  order 
to  make  them,  string  a  continuous  warp  of 
the  required  length  with  Germantown  dark 
colored  wool.  Weave  the  same  color  for 
the  woof,  and  brighten  it  at  intervals  with 
Roman  stripes.  A  plaid  scarf  can  be  woven, 
if  preferred ;  while  with  a  close  warp  one 
can  have  a  kindergarten  pattern  in  another, 
or  contrasting  color. 

In  making  wristlets,  one  must  decide  how 
long  they  are  to  be,  and  adjust  the  length 
on  the  loom.  Measure  around  the  wrist  for 
the  width,  remembering  that  the  wristlets 
will  stretch  when  pulled  over  the  hand. 


RAFFIA    MATS 


7/7 


Weave  in  stripes  or  plaid,  or,  if  desired,  plain, 
stringing  the  warp  with  the  same  wool  as  is 
used  in  weaving.  Remove  the  mat  and  sew 
the  edges  together. 

Sleeve  protectors  can  be  woven  of  raffia 


Sleeve 
protectors 


in  the  same  way  as  wristlets.  Make  them  so 
they  can  be  fastened  on  the  outside  of  the 
sleeve,  like  a  cuff. 

Purses,  or  chatelaine  bags,  are  made  of 


HAND-LOOM  WE  A  VING 


Purses^  or 

chatelaine 

bags 


Borders 

for  rugs  or 

sq  ic  ares 


Shopping 

and  school 

bags 


Borders 

for  rugs  or 

squares 


knitting  silk.    Beads  can  be  added,  if  desired. 
Adjust  the  loom  for  the  required  size,  and 


string  a  continuous  warp,  if  necessary.  One 
can  obtain  the  silver  or  nickel  tops,  which 
open  and  close,  at  the  department  stores. 

It  will  be  better  to  use  heavier  material 
for  shopping  and  school  bags.  Raffia  makes 
a  strong  bag ;  silk  strips  are  serviceable,  and 
leather  strips  are  good  for  school  bags.  For 
opera-glass  bags,  make  two  mats  and  lace  or 
weave  them  together,  or  string  a  continuous 


warp.     Use  rope  silk,  chenille,  or  knitting 
silk  with  beads. 


RAFFIA   MATS 


When  one  has  mastered  the  mysteries  of 
weaving  thoroughly  enough  to  make  a  good 
mat,  it  is  very  easy  to  "  turn  them  into  "  vari- 
ous articles.  There  is  no  sleight  of  hand 
about  it. 

Silk  canvas  panels  are  made  by  adjusting 
the  loom  for  the  required  size  of  the  sides 
of  the  box,  and 
weaving  a  plain 
mat  for  the  top. 
A  number  of 
suggestions  have  $ 
been  given  on 
page  52,  under 
the  head  of  Ma- 
terials. 

Pretty  neck- 
ties of  fine  knit- 
ting silk  can  be 
made  on  the  , 
loom  by  using  ^ 
a  continuous  warp  of  the  same  material. 

The  accompanying  illustration,  and  an- 
other on  page  98,  and  also  the  vignette  on 
the  title  page,  show  squares  of  silk  canvas, 
and  will  give  one  many  ideas  of  how  they 
may  be  used.  One  has  a  cross-stitched  pat- 
tern of  chenille,  and  in  another  the  chenille 
was  alternated  with  silk  in  the  warp,  and 


Panels  of 
silk  canvas 
for  boxes 


A  square 
of  silk 
canvas 
with  cross- 
stitched 
pattern 
of  chenille 


120 


HAND-LOOM  WE  A  VING 


Sofa 

pillows, 

cushions^ 

sachet 

cases  and 

veil  cases 


both  chenille  and  silk  were  used  in  the  woof. 
The  squares  can  be  made  up  in  cushion  and 
box  covers,  sachet  cases,  sofa  pillows,  or  the 
larger  squares  can  be  used  as  veil  cases.  A 


number  of  them  can  be  joined  for  large  sofa 
pillows.    In  the  latter  case  they  can  be  made 
of  wool,  and  many  of  them  could  be  crocheted 
together  for  an  afghan  or  slumber  robe. 
The  design  in  the  illustration  is  a  pattern 


RAFFIA   MATS 


121 


which  may  be  used  for  either  a  Wilton  or 
'Axminster  rug,  or  for  mats,  sachet  cases, 
cushion  or  box  covers,  or  cross-stitch  embroid- 
ery on  burlap,  or  silk,  or  wool  canvas.  The 
patterns  given  on  pages  120,  125,  130,  and  134 
will  be  found  adaptable  for  rugs  or  squares. 
Slumber  robes  or  afghans  have  been  pre- 
viously mentioned  on  page  54,  under  the 
head  of  Materials.  It  will  be  found  very 
easy,  after  a  little  experience  with  a  continu- 


ous  warp,  to  make  strips  of  any  length.  It 
is  better  to  wind  the  extra  lengths  of  warp 
upon  spools,  as  has  been  suggested,  or  around 
the  tops  of  the  rods.  Large  portieres  can  be 
made  of  long  strips  of  silk  or  silkoline  cut 
bias.  Fasten  the  long  strips  together  hori- 
zontally in  imitation  of  Bagdad  curtains. 

Hair  receivers  are  easily  made  from  raffia. 
Make  a  square  mat  and  fold  it  in  cornucopia 
form. 


Slumber 
robes  or 
afghans 


Borders 
for  rugs  or 
squares 


Portieres 


Hair 
receivers 


122 


HAND-LOOM  WEAVING 


Rugs  and 
draperies 


Border  for 
rug-s  or 
squares 


Patterns 


ORIENTAL   RUGS 

nPO  be  quite  up  to  date,  Miss  Dolly  should 
have  oriental  rugs  and  draperies  in  her 
house  beautiful.  These  are  easily  made  on 
the  loom,  and  the  little  girl  or  boy,  who  has 
first  copied  a  pattern  and  then  seen  it  grow 
under  patient  fingers,  has  a  thing  of  beauty 


and  a  joy  forever.  What  could  give  more 
pleasure  than  to  be  able  to  say  fifty  years 
from  now:  "I  wove  that,  my  dear,  when  I 
went  to  school "  ?  Truly  the  grandchildren 
would  reply :  "  How  I  wish  I  could  have 
gone  to  grandma's  school!" — only  they  may 
have  something  equally  beautiful  which 
will  take  its  place  in  that  far-off  time  —  who 
knows? 

The  patterns  for  oriental  rugs  familiar  in 
the  East  have  descended  through  hundreds 
of  years,  and  the  exquisite  colors,  produced 


ORIENTAL  RUGS 


123 


by  vegetable  dyes,  and  increasing  in  rich- 
•ness  and  beauty  with  age,  are  only  to  be 
seen  in  old  rugs.  We  have  nothing  in  our 
modern  dyes  to  compare  with  the  old  color. 
One  is  soon  interested  in  the  study  of  these 
Eastern  treasures,  and  it  becomes  second 
nature  in  a  short  time  not  only  to  chat 
familiarly  of  Kermans,  Serebends,  Khivas, 


Bokharas,  and  Kiz-Kilims,  ad  infinitum,  but 
to  jot  down  now  and  then  in  one's  notebook, 
or  still  better  in  one's  design  book  (made  of 
the  kindergarten  squared  paper,  one-eighth 
inch),  a  pretty  border  or  centerpiece  for  the 
rug  which  is  to  grace  some  doll  house.  The 
patterns  of  Turkish  rugs  (see  page  127)  are 
of  geometrical  or  arabesque  designs  —  an 


Oriental 
colors 


Borders 
for  rugs 
or  squares 


HAND-LOOM  WE  A  V1NG 


Inscrip- 
tions on 
Persian 
rugs 


Pattern 

for  border 

of  Persian 

rug 


Bokhara 
rugs 


edict  from  the  Koran  having  prohibited  the 
reproduction  of  living  things.  The  Per- 
sians, however,  weave  animals,  birds,  etc.,  as 
their  ancestors  did  in  days  gone  by. 

There  is  some  very  interesting  reading 
in  "Oriental  Rug  Weaving,"  by  V.  Kurdji, 
on  the  subject  of  inscriptions  often  found  on 
Persian  rugs.  He  says :  "  If  the  possessors 
of  some  of  the  rare  pieces  that  are  sold  in 
this  country  knew  the  meaning  of  the  in- 
scriptions woven  in  their  rugs,  the  knowl- 


edge would  add  a  charm  and  interest  wrhich 
would  make  them  more  valuable  than  the 
harmonious  colors  so  beautifully  blended." 
Oriental  rugs  take  their  names  from  the 
countries  or  provinces  in  which  they  are 
made.  Bokhara  rugs  are  made  in  moun- 
tainous districts  of  Turkestan,  and  have 
never  been  successfully  imitated,  because 
the  dyes  used  are  made  from  a  plant  grown 
only  in  that  district.  The  designs  are  geo- 
metrical, and  the  colors  deep  maroon  or  blue. 
The  pile  is  woven  as  close  as  velvet.  They 


ORIENTAL  RUGS 


125 


are  noted  for  the  superior  quality  of  their 
dyes.  Khiva  rugs,  sometimes  called  afghan, 
are  made  in  Turkestan.  They  resemble  the 
Bokhara  rugs,  but  are  coarser  in  texture 


Khiva 
rugs 


and  heavier  in  pile,  and  they  differ  from 
them  in  having  a  wide  selvage  at  each  end. 
Some  Khivas  have  a  small  pattern  in  red 
mosaic  over  the  surface  with  a  circle  in  the 


126 


HAND-LOOM  IV E A  VING 


Kiz-Kilim 

rugs 


Pattern 

for  a 

Kiz-Kilim 

stripe 


center.  One  often  sees  a  rug  made  of  a  rich 
golden  yellow  with  a  background  of  dark 
red. 

The  Kiz-Kilim  rugs  have  no  nap,  and  are 
woven  with  a  needle.  They  are  thin  and 
almost  alike  on  both  sides.  The  larger  sizes 
are  woven  in  two  strips  fastened  together 
so  that  they  can  be  taken  apart  and  used  for 
curtains.  "  These  Kiz-Kilims  are  woven  by 


Armenians  and  Turks  in  Anatolia  (the  land 
of  sunrise,  and  the  Greek  name  for  Asia 
Minor).  The  literal  translation  of  the  word 
Kiz-Kilim  is  bride's  rug,  it  being  a  custom 
in  that  country  for  a  bride  to  present  to  her 
husband  one  of  these  rugs,  which  she  has 
woven  during  her  engagement  to  him.  The 
quality  of  the  rug  is  supposed  to  measure 
the  quality  of  the  husband's  affection  for  his 


A  Kiz-Kilim  rug 


128 


HAND- LOOM  WEAVING 


Kiz-Kilim 
rugs 


Materials 
used 


bride,  consequently  we  have  many  beautiful 
specimens  of  this  class,  the  brilliant  hues 
and  intricate  designs  of  which  could  only 
have  been  inspired  by  the  whisperings  of 
Cupid.  They  are  in  open-work  patterns  — 
called  perforated — and  often  have  long  tufts 
of  colored  silk  tied  to  the  rugs  with  blue 
beads,  in  order  to  keep  them  from  the  effects 
of  the  Evil  Eye."  The  Kiz-Kilim  rug  in  the 
illustration  was  copied  from  a  genuine  rug. 
The  filling  is  a  deep  blue  and  the  borders 
are  in  oriental  colors.  The  center  figure  is 
white,  with  red,  brown,  and  yellow  inside. 
There  are  four  kinds  of  Kilims.  Much 
interesting  and  valuable  information  can 
be  found  in  John  Kimberley  Mumford's 
"Oriental  Rugs";  New  York:  Charles  Scrib- 
ner's  Sons,  1900,  where  directions  for  weav- 
ing Kiz-Kilims,  Khivas,  and  Bokharas  are 
given,  with  a  few  patterns. 

Oriental  wools  or  carpet  ravelings  are 
used  for  these  rugs.  Copy  your  figures  and 
colors  from  genuine  rugs.  The  accompany- 
ing patterns  were  obtained  in  this  way. 
See  directions  on  page  47  for  stringing  a 
double  warp  with  fringe  at  each  end.  First 
fasten  the  pattern  under  the  warp;  then 
weave  about  one-quarter  inch  at  each  end 
with  carpet  thread  like  the  warp.  This  will 


ORIENTAL  RUGS 


I29 


make  it  look  like  a  "  truly  "  Kiz-Kilim.  Next 
to  this,  weave  a  very  narrow  strip  of  sev- 
eral colors  each  twice  across,  regarding  the 
double  strings  as  one.  Then  weave  each 
part  of  the  narrow  border.  To  make  the  per- 
forations, take  up  one  thread  of  the  double 
warp  for  one  side  of 
pattern,  and  the  other! 
thread  for  weaving  the 
pattern  next  to  it.  For; 
instance,  the  "steps,"  as  I 
the  children  call  them,  of  f 
triangle  No.  i,  when  fin- 
ished, will  stand  close  to 
the  steps  of  triangle  No.  2, 
with  a  little  slit  between. 
These  perforations  occur 
only  where  one  pattern 
joins  another  of  a  differ- 
ent color,  or  the  dark  fill- 
ing. For  instance,  in  the 
white  figure  in  the  center, 


being  woven  over  the  double  strings  as  if 
they  were  only  one.  In  this  way  the  per- 
forations of  other  parts  are  closed  top  and 
bottom.  Use  a  tape  needle  and  weave  each 
section  of  the  pattern  separately.  Weave 


Perfora- 
tions 


;p 

± 

r 

1 

1 

I 

j  — 

^  i 

i^  ™ 

1 

~    "  -C. 

'1 

•| 

™      " 

r 

| 

_      L 

3  -  •  -m- 

1 

"       * 

_: 

*es  come  togeth 
[,  the  part  betwe 

Pattern 

er,     fora 

Turkish 
Jen        rug 

/JO 


HAND-LOOM  WEAVING 


the  filling  last.  As  this,  peculiar  tone  of 
blue  could  not  be  obtained  in  carpet  ravel- 
ings,  an  eighth  of  a  yard  of  terry  was  raveled 
for  the  purpose.  Take  care  not  to  draw  any 
part  of  the  pattern  too  tight,  or  the  perfora- 


tions will  be  too  large.  The  right  and  left 
edges  of  the  rug  are  woven  over  the  rods 
to  keep  them  straight.  Both  narrow  bor- 
ders were  woven  before  the  center  was  com- 
menced. The  pattern  in  the  illustration  is 


ORIENTAL  RUGS 


for  a  Wilton  or  Axminster  rug,  but  can  be 
used  for  mats,  or  box,  sachet,  and  cushion  cov- 
ers. It  is  made  with  cross-stitch  embroidery 
on  burlap,  silk,  or  wool  canvas.  (See  also 
page  1 20.) 

The  children  can  lay  these  Turkish  pat- 
terns with  square  tablets  upon  their  desks, 
the  pattern  being  drawn  upon  the  board, 
or  on  paper  with  a  rubber  pen.  It  will  be 
a  delight  to  the  children  to  transfer  them 
to  paper  by  drawing  and  then  coloring,  or 
by  cutting  and  pasting  colored  papers. 

The  genuine  Khiva  and  Bokhara  rugs  are 
made  by  weaving  and  knotting  alternately. 
It  will  be  easier  at  first  to  weave  a  web,  or 
foundation.  Choose  a  tight  twisted  yarn 
about  the  color  of  the  rug  to  be  woven. 
String  a  close  warp  of  the  wool  and  weave 
plain  up  and  down,  one  string  at  a  time, 
until  you  have  a  rug  of  the  desired  size. 
Put  in  the  pattern  first,  and  then  the  filling. 
This  work  will  be  almost  too  difficult  for 
little  children.  Carpet  wools  and  German- 
town  wool  can  be  used.  It  will  not  be 
found  difficult  to  follow  the  pattern,  espe- 
cially if  one  is  used  to  cross-stitch  embroid- 
ery. Each  stitch  counts  for  one  of  cross- 
stitch.  Keep  the  stitches  very  close  together 
so  that  the  nap  will  stand  up  well  when 


Turkish 
patterns 
laid  with 
tablets 


Stitches 
for  Khiva 
and 

Bokhara 
rugs 


'32 


HAND-LOOM   WE  A  VING 


Stitches 
for  pile 
weaving 


finished.  Silk  rugs  can  be  copied  in  the 
same  way,  using  floss  or  rope  silk  for  the 
pile.  If  one  prefers,  a  piece  of  burlap  may 
be  stretched  across  the  loom  and  secured 
to  the  rods,  instead  of  weaving  a  foundation, 
as  suggested. 


Stitches  for  pile  weaving  are  very  easily 
made.  This  illustration  showing  examples 
of  stitches  for  pile  weaving  illustrates  the 
methods  used  in  the  stitches,  and  may  be  used 
for  Axminster  or  Wilton  rugs,  for  boxes, 
sachet  cases,  and  other  articles.  The  tape 


ORIENTAL  RUGS 


133 


needle  is  the  kind  used  for  weaving  when 
the  large  needle  cannot  be  used.  It  is  pref- 
erable to  use  one  of  this  kind  on  account  of 
the  eye  and  blunt  point,  and  it  may  be  ob- 
tained at  the  notion  counter  in  department 
stores  for  a  few  cents.  There  are  two  stitches, 
each  occupying  half  of  the  illustration  and 
numbered  from  left  to  right,  beginning  at 
the  top.  Make  No.  i  by  passing  a  tape  needle 
threaded  with  wool  down  through  the  web, 
leaving  a  short  end,  then  up  one  stitch  to 
the  left.  This  is  the  first  step.  In  No.  2 
continue  over  on  the  right  side,  past  the 
stitch  where  you  started,  to  the  stitch  on 
the  right;  then  down  and  up  through  the 
first  hole,  and  cut  off  the  wool  the  same 
length  as  the  end  you  left  at  first.  No.  3 
shows  a  stitch  completed.  No.  4,  one  row 
of  stitches,  and  No.  5,  three  rows,  show- 
ing how  one  row  overlaps  another.  When 
the  rug  is  finished,  the  ends  should  be  cut 
evenly,  so  that  the  nap  is  like  velvet.  The 
children  would  say  that  this  stitch  looks 
like  a  two-legged  stool,  and  so  it  does. 

The  second  stitch  is  made  so  that  the 
nap  lies  sideways  from  left  to  right.  No.  a  is 
just  like  the  preceding  stitch.  No.  b  shows 
the  needle  passing  down  the  stitch  where 
you  started  and  up  one  stitch  to  the  right. 


Stitches 
for  pile 
weaving 


The  first 
stitclt 


The  second 
stitch 


'34- 


HAND-LOOM  WE  A  VING 


mi'a°nd 


Pattern 

for  a  rug^ 

mat,  or 

cover 


Cut  off  the  wool  and  pull  the  end  left  at 
first  over  the  last  one.  This  pile  should 
stand  very  straight  and  even.  No.  c  shows 
a  completed  stitch  ;  No.  d  one  row,  and  No. 
e  three  rows.  These  stitches  are  useful  in 
mending  Khiva  and  Bokhara  rugs. 

Wilton,  Axminster,  or  any  rugs  having  a 
pile>  can  be  woven  with  the  same  stitches. 
The  pattern  in  the  illustration  may  be  used 


for  either  a  Wilton  or  Axminster  rug,  for  a 
box  cover,  cushion,  sachet  case,  or  mat ;  and 
can  be  cross-stitched  embroidery,  on  burlap, 
silk  or  woolen  canvas. 


NA  VAJO  BLANKETS 


135 


thirteen 


NAVAJO   BLANKETS 

TVTAVAJO  blankets  were  first  made  by 
the  Pueblo  Indians,  from  whom  the 
Navajo  Indians  learned  the  art,  and  not  long 
after  the  latter  excelled  in  the  making  of 
them.  Among  the 
Pueblo  Indians 
the  men  do  the 
work;  but  women 
are  the  weavers 
among  the  Nava- 
jos.  In  the  illus- 
tration on  this 
page  is  seen  a 
miniature  Navajo 
loom  with  the  blan- 
ket commenced. 
The  two  cords 
woven  at  the  sides 
with  the  woof 
can  be  easily  seen.  Simple  looms  are  sus- 
pended between  two  posts  or  trees,  and  the 
weaver  sits  upon  the  ground.  A  twig  is 
used  for  a  shuttle,  and  a  reed,  fork-shaped 


A  sketch 


A 

miniature 
Indian 
loom 


HAND-LOOM  WE  A  VING 


Indian 


like  a  hand,  is  used  to  push  down  the  woof 
threads.  The  blanket  is  made  waterproof 
by  pounding  down  the  threads  with  a  bat- 
ten, a  good  picture  of  which  is  seen  in  Dr. 
Washington  Matthews'  article  on  Navaio 

•weaving  _  J 

weavers  in  the  Third  Annual  Report  of  the 
Bureau  of  Ethnology.  Separate  balls  of 
color  are  used  to  carry  out  the  pattern, 
which  is  sometimes  traced  in  the  sand  be- 
fore the  work  is  commenced.  As  many  as 
twenty-nine  different  balls  have  been  seen 
hanging  from  a  single  blanket.  Some  of 
the  designs  have  been  handed  down  from 
one  generation  to  another,  and  are  carried 
entirely  in  the  memory.  They  are  often 
symbolical  "and  unfold  a  whole  legend  to 
the  knowing  eye  of  the  native."  The  weav- 
ing is  done  from  the  bottom  up,  some  work- 
ing in  one  direction,  while  others  weave 
first  at  the  bottom,  then  turn  the  loom 
upside  down,  and,  after  weaving  about  the 
same  distance  there,  finish  in  the  middle. 
The  last  part  of  the  weaving  is  like  darn- 
ing, and  is  often  done  with  a  needle.  The 
The  colors  most  used  are  white,  gray,  black, 

colors 

used  a  bright  yellow,  red  (a  scarlet,  generally 
obtained  by  raveling  bayeta  cloth),  and 
sometimes  blue.  In  former  times,  when  the 
Indians  used  vegetable  dyes,  the  colors 


A  Navajo  Indian  woman  weaving  a  blanket 


HAND-LOOM   WEAVING 


Old 

Indian 

blankets 

are  rare 


Descrip- 
tion of  the 
illustra- 
tion 


Method  of 
making 


were  beautiful  and  lasting.  These  old  blan- 
kets are  becoming  more  and  more  rare,  and 
to-day  in  their  places  we  have  the  bright 
and  not  always  satisfactory  results  of  ani- 
line dyes.  The  blanket  in  the  illustration 
facing  this  page  has  narrow  stripes  in  the  fol- 
lowing colors:  On  each  end  (seven  stripes) 
red,  black,  white,  orange,  green,  white,  black. 
The  two  groups  of  six  stripes  in  the  middle 
are :  Black,  white,  red,  green,  white,  black. 
Before  the  advent  of  the  present  squaw 
dress,  the  black,  red,  and  dark  blue  blan- 
kets were  used  as  clothing,  but  the  best 
blankets  were,  and  still  are,  worn  at  sacred 
dances.  Dr.  Matthews,  in  his  report,  gives 
an  interesting  description  of  the  method  of 
making  these  blankets,  with  several  pictures 
of  the  better  examples.  Navajo  blankets 
are  finished  with  four  border  cords,  which 
are  secured  as  the  weaving  progresses,  and 
the  ends  are  fastened  at  the  four  corners  by 
small  tassels. 

Small  Navajo  blankets  can  be  woven  on 
the  loom.  Draw  the  pattern  and  place  under 
the  warp,  fastening  it  to  the  side  rods.  Use 
warp  or  carpet  thread  for  the  warp,  and 
weave  with  a  tape  or  upholstery  needle.  One 
may  weave  all  the  pattern  first,  and  then  put 
in  the  filling;  while  another  will  weave  as 


A  Navajo  blanket 


HAND-LOOM  WEAVING 


Indian 
blankets 


The  colors 

in  the 

blanket 

on  page  141 


the  Indians  do,  filling  in  from  one  part  of 
the  pattern  to  the  other  by  threading  the 
needle  with  a  different  color.  This  can  be 
done,  without  running  the  thread  under- 
neath, by  hooking  it  in  the  loop  of  the  pat- 
tern just  finished.  These  little  blankets  are 
very  fascinating  things  to  make,  and  the 
children  become  much  interested  in  them, 
and  in  Indian  life  as  well. 

This  very  beautiful  Navajo  blanket, 
shown  in  the  illustration,  has  three  broad 
red  stripes,  two  narrow  red  stripes  about 
one-half  the  width  of  the  former,  and  four 
gray  stripes  about  one-half  the  width  of 
narrow  red  stripes.  The  centers  of  all  the 
figures  are  red,  like  the  filling  —  a  brilliant 
scarlet.  The  colors  of  the  large  figures, 
beginning  at  the  center  of  each,  and  counting 
from  left  to  right,  are  as  follows :  Nos.  i,  3, 
and  5,  red,  green,  and  light  yellow.  Nos.  2 
and  4,  red,  white,  and  black.  The  small  fig- 
ures, counting  the  same  way,  are :  Nos.  i,  3, 
and  5,  red,  white,  and  black.  Nos.  2  and  4, 
red,  yellow,  and  green.  The  four  corners  are 
finished  with  twisted  red  cord-like  tassels. 
This  cord  also  extends  across  the  warp  ends. 
Dr.  Matthews  tells  in  his  article  on  "Navajo 
Weavers"  how  two  cords  are  twisted  and 
woven  at  the  sides  with  the  woof. 


NA  VAJO  BLANKETS 


141 


The  two  Navajo  Indian  blankets  illus- 
trated in  this  chapter,  and  the  pattern  on  the 
following  page,  may  be  easily  adapted  for 


A  very 

beautiful 

Navajo 

Indian 

blanket, 

showing 

tlie 

manner  of 

decoration 


the  loom.  Germantown  knitting  wool  or  car- 
pet ravelings  can  be  used,  although  to  obtain 
softer  wool  is  better.  Some  of  the  hand- 
somest Navajo  blankets  have  a  long  nap. 


142 


HAND-LOOM  WE  A  VING 


Navajo 

patterns 

laid  with 

tablets 


A  pattern 
or  a 


fo 

Na 


avajo 
blanket 


The  children  will  take  pleasure  in  lay- 
ing Navajo  patterns  with  triangular  tablets, 


and  then  transferring  the  pattern  to  paper 
by  drawing  and  coloring,  or  by  cutting-  and 
pasting  in  colors. 


SONGS,   GAMES,  AND  STORIES 


143 


SONGS,  GAMES,  AND  STORIES 


T^HERE  are  many  beautiful  songs  which 
can  be  sung  during  the  weaving. 
Thomas  Carlyle  has  said  : 

"  Give  us,  O  give  us  the  man  who  sings  at 
his  work!  He  will  do  more  in  the  same 
time  ;  he  will  do  it  better  ;  he  will  persevere 
longer.  One  is  scarcely  sensible  of  fatigue 
wrhilst  he  marches  to  music,  and  the  very 
stars  are  said  to  make  harmony  as  they 
revolve  in  their  spheres." 

There  are  songs  about  the  birds'  nests, 
always  pleasing  to  the  little  folks,  and 
doubly  so  when  they  have  held  in  their 
own  hands  the  wonderful  bit  of  weaving, 
so  strong  and  yet  so  soft,  woven  by  the 
mother-bird  for  the  baby-birds.  Mrs.  Spider 
is  also  very  interesting  with  her  lace-like 
webs  which  are  to  be  found  even  in  well- 
regulated  schoolrooms,  and  the  songs  of  the 
bleating  sheep  who  give  us  their  wool  fill 
every  little  heart  with  delight.  Miss  Pouls- 
son's  Finger  Play,  "The  Lambs,"  gives  the 
restless  fingers  something  to  do  and  the 


Songs  and 
games 
lighten 
work 


Songs  for 

the 

children 


HAND-LOOM  WE  A  VING 


A  weaving 
game 


"eight  white  sheep  all  fast  asleep"  afford  a 
chance  for  a  good  laugh  over  the  "  two  old 
dogs  close  by"  (the  thumbs).  One  has  the 
opportunity,  too,  of  noticing  whether  the 
eight  white  sheep  on  the  tiny  hands  are 
really  white  enough  to  do  the  weaving.  A 
smiling  allusion  to  some  small  black  sheep 
will  bring  them  back  clean  for  the  next  ses- 
sion. 

The  following  weaving  game  can  be 
played  in  several  ways.  This  extract  is 
from  the  "  Kindergarten  Guide,"  by  Lois 
Bates:  "Six  children  stand  in  a  row;  a  tall 
one  at  each  end  for  the  border  of  the  mat 
and  the  other  four  representing  the  strips. 
The  child  who  is  to  be  the  weaver  holds 
one  end  of  a  long  tape,  while  the  other  is 
fastened  to  the  left  shoulder  of  the  first 
child.  The  weaver  weaves  the  tape  in  and 
out  among  the  children,  placing  the  second 
row  lower  down.  It  will  be  easily  seen  that 
the  children  who  had  it  passed  in  front  of 
them  in  the  first  row,  had  it  bcliind  them  in 
the  second,  and  vice  versa." 

The  following  weaving  song  in  the 
Walker  and  Jenks  book  can  be  sung  during 
the  weaving.  To  be  sure  it  is  not  really 
"over  and  under"  when  you  think  of  them 
as  children.  Remember  that  they  represent 


SONGS,   GAMES,  AND  STORIES 


145 


a  mat,  and  they  are  for  the  time  the  strips 
and  border. 

(Sung  to  the  tune  of  "Nellie  Ely."} 

Over  one,  under  one, 

Over  one  again. 

Under  one,  over  one, 

Then  we  do  the  same. 

Hi,  weavers  !     Ho,  weavers  ' 

Come  and  weave  with  me  ! 

You'll  rarely  find,  go  where  you  will, 

A  happier  band  than  we ! 

Kate  Douglas  Wiggin  (Mrs.  Riggs)  in 
her  "Republic  of  Childhood"  describes  the 
game  in  this  way : 

"  First  choose  a  row  of  children  for 
threads  of  the  warp,  standing  at  such  a 
distance  from  each  other  that  a  child  may 
pass  easily  between  them.  Second,  choose  a 
child,  or  children,  for  thread  of  woof.  After 
passing  through  the  warp,  each  child  takes 
his  place  at  the  end  and  other  children  are 
chosen."  In  this  way  more  children  can  take 
part  than  if  a  tape  were  used.  Some  teachers 
play  it  in  a  different  way,  using  the  desks 
with  the  seats  turned  up  for  the  warp  and 
the  whole  number  of  children  for  the  woof, 
winding  in  and  out  all  over  the  room.  This 
is  very  delightful,  indeed,  if  there  is  enough 
space  for  the  children  to  pass  easily  without 

tripping  on  the  iron  supports  of  the  desks. 
10 


Explana- 
tion oj  tlie 
game 


146 


HAND-LOOM  WE  A  VING 


Bird 
games 


Interest- 
ing stories 


This  is  a  good  game  for  a  rainy  day,  when 
there  is  no  outdoor  recess. 

The  bird  games  are  beautiful  and  leave 
a  wholesome  impression  of  home  life  and 
home  love  on  the  children,  which  will  have 
a  lasting  influence.  Few  children,  brought 
up  in  this  tender  and  beautiful  way,  will 
ever  feel  an  inclination  to  harm  the  birds, 
or  indeed  any  animal. 

The  fund  of  stories  of  birds  and  birds' 
nests  is  almost  inexhaustible.  Miss  Pouls- 
son's  "  In  the  Child's  World"  contains  many 
stories  of  the  weaver  (pages  407-412),  and 
several  about  birds  and  birds'  nests  (pages 
292-301).  Her  talks  to  teachers  with  regard 
to  the  presentation  of  each  subject  are  very 
helpful,  as  well  as  her  suggestions  for  the 
teachers'  reading.  Stories  of  the  weaving 
birds,  particularly  the  African  weaver,  are 
interesting.  It  is  said  that  two  birds  work 
together,  one  on  the  inside  of  the  nest  and 
the  other  on  the  outside,  passing  the  grass 
and  twigs  in  and  out,  until  the  home  is  com- 
pleted. The  children  will  enjoy,  too,  stories 
of  weaving  in  other  lands,  material  for  which 
can  be  easily  obtained.  In  fact,  no  one  need 
to  be  without  stories  in  these  days  of  books 
and  magazines. 

Last,  but  not  least,  is  the  conversation 


SONGS,   GAMES,   AND  STORIES 


'4-7 


during  the  weaving.  Anyone  who  has  at- 
tended a  teachers'  meeting,  where  the  indus- 
trial work  was  being  given,  has  not  failed  to 
remark  the  sociability  all  over  the  room. 
"How  are  you  getting  on?"  "Let  me  see 
yours."  "  Oh,  I  cannot  get  it  at  all,"  etc.,  etc., 
are  heard  everywhere,  and  yet  those  same 
teachers  go  into  their  class  rooms  the  next 
day  and  expect  the  children  to  work  without 
whispering.  If  they  will  read  what  Mrs. 
Wiggin  says  in  the  "  Republic  of  Child- 
hood," in  her  talk  on  "Sewing,"  they  will 
never  be  guilty  of  it  again.  A  good  plan 
is  to  have  the  room  perfectly  quiet  while  a 
dictation  is  being  given,  and  then  allow  a 
period  of  relaxation  when  the  little  folks 
can  compare  and  admire  the  work  to  their 
hearts'  content.  Beware  of  too  much  repres- 
sion. A  child  when  asked  why  a  tree  grew 
crooked,  replied :  "  Somebody  stepped  on 
it,  I  suppose,  when  it  was  a  little  fellow." 
The  answer  is  painfully  suggestive.  Mrs. 
Wiggin  truly  says :  "  If  the  children  are 
never  to  speak  except  when  they  answer 
questions,  how  are  we  to  know  aught  of 
their  inner  life  ?  " 

The  following  list  of  songs,  games,  and 
stories  suggests  interesting  material  to  cor- 
relate with  the  work  in  hand-loom  weaving. 


Conver- 
sation 


Never 
repress 
the 
children 


148 


HAND-LOOM    WE  A  VING 


Songs  and 
Games 


SONGS   AND    GAMES 

ATKINSON,  FRANK  H.,  JR.  Singing  Songs  for 
Children.  See  COONLEY. 

BEEBE,   KATHERINE.     Schoolroom   Plays.     Chi- 
cago:  Tlwmas  Charles  Co.     25  cents. 
A  Weaving  Game. 

BROWN,  KATE  L.   Stories  in  Song.  See  EMERSON. 

COOLIDGE,  ELIZABETH.  After  Supper  Songs. 
Chicago:  Herbert  S.  Stone  &  Co.  $2.00. 

COONLEY,  LYDIA  A.;  SMITH,  ELEANOR  ;  GAYNOR, 
JESSIE  L.;  ROOT,  FREDERICK  W.;  and  ATKIN- 
SON, FRANK  H.,  JR.  Singing  Verses  for  Chil- 
dren. New  York:  The  Macmillan  Co.  $2.00. 

DAVIS,  KATHERINE  WALLACE.  Singing  Rhymes 
and  Games.  Chicago :  Clayton  T.  Summy  Co. 

35  cents- 

EMERSON,  ELIZABETH  U.,  and  BROWN,  KATE  L. 
Stories  in  Song.  Boston:  Oliver  Ditson  Co. 
$1.00. 

The  Oriole's  Nest. 

FORSYTHE,  CLARENCE.      Old  Songs  for  Young 
America.    New  York :  Doubleday,  Page  &  Co. 
1901.     $2.00. 
Needle's  Eye. 

GAYNOR,  JESSIE  L.     Songs  of  the  Child  World. 
New  York:   The  John  Church  Co.     $1.00. 
The  Bird's  Nest. 
The  Happy  Lambkins. 
Song  of  the  Shearers. 
Spinning  the  Yarn. 
Grandma's  Knitting  Song. 
Weaving  Song. 


SONG S,   GAMES,  AND  STORIES 


GAYNOR,  JESSIE  L.     See  also  COONLEY. 

HILL,  PATTY  S.     Song  Stories  for  the  Kinder- 
garten. Chicago:  Clayton  T.SummyCo.  $1.00. 
The  Children  and  the  Sheep. 

HOFER,  MARI  Rufer.  Children's  Singing  Games 
Chicago:  Published  by  Mart  Ruef  Hofcr, 
Kindergarten  Magazine  Co.  50  cents. 

HUBBARD,  CLARA  BEESON.  Merry  Songs  and 
Games.  St.  Louis:  Balmcr  &  Weber  Music 

Co.     $2.00. 

JENKS,  HARRIET  S.  Songs  and  Games  for  Little 
Ones.  See  WALKER. 

NEIDLINGER,  W.   H.      Small   Songs   for  Small 
Singers.     New  York :  G.  Sc /tinner.     $1.00. 
The  Spider. 
The  Bee. 
The  Rainy  Day. 

NURSERY  STORIES  and  Rhymes  for  the  Kinder- 
garten and  Home.  Springfield,  Mass.:  Milton 
Bradley  Co.  $1.00. 

The  Song  of  a  Baby's  Blanket. 

The  Song  of  a  Baby's  Shirt. 

PRATT,  WALDO  S.  St.  Nicholas  Songs.  New 
York:  The  Century  Co.  $2.00. 

ROOT,  FREDERICK  W.  Singing  Songs  for  Chil- 
dren. See  COONLEY. 

SMITH,  ELEANOR.  First  Book  in  Vocal  Music. 
Chicago  and  New  York:  Silver,  Burdette  &  Co. 
30  cents. 

Oriole's  Nest  Song. 

Spinning  Song. 


HAND-LOOM  WEA  VING 


Songs  and 
Games 


Stories 


SMITH,  ELEANOR.  A  Primer  of  Vocal  Music. 
Chicago  and  New  York:  Silver,  Burdette  & 
Co.  25  cents. 

The  Lazy  Sheep. 

The  Spider. 

The  Silkworm. 


See  also  COONLEY. 


Chicago :    A . 


SONGS  IN   SEASON.      Plan  Book. 
Flanagan.     50  cents. 
The  Lambkin. 

WALKER,   GERTRUDE,   and   JENKS,    HARRIET    S. 
Songs  and  Games  for  Little  Ones.     Boston: 
Oliver  Dit son  Co.     $1.50. 
Birdies  in  the  Green  Wood. 
Fly,  Little  Birds. 
In  the  Branches  of  a  Tree. 
Eight  White  Sheep. 
Weaving  Song. 

STORIES 

ANDREWS,  JANE.  Each  and  All.  Boston:  Ginn 
&  Co.  50  cents.  Boston:  Lee  &  Shepard. 

$1.00. 

New  Work  for  Pense. 

CHASE,  A.,  and  CLOW,  E.     Stories  of  Industry. 

Boston  :   Educational  Publishing  Co.     2  vols. 

60  cents  each. 

Stories  of  Cotton,  Wool,  Silk,  and  Carpets. 
CLOW,  E.     Stories  of  Industry.    See  CHASE. 

FARMER,  LYDIA  HOYT.  Boy's  Book  of  Famous 
Rulers.  New  York :  Thomas  Y.  Crowell  &  Co. 
$1.50. 

Robert  Bruce  and  the  Spider. 


SONGS,  GAMES,  AND  STORIES 


MILLER,  OLIVE  THORNE.  Little  Folks  in  Feathers 
and  Fur,  and  Others  in  Neither.  New  York: 
E.  P.  Dutton  &  Co.  $2.50. 

The  Spider  Speaks  for  Herself. 

Stories  of  Caterpillars  and  Butterflies. 

A  Funny  Little  Log  House. 

PIERSON,  CLARA  DILLINGHAM.  Among  the  Farm- 
yard People.  New  York:  E^  P.  Dutton  &  Co. 
$1.25. 

The  Lamb  with  the  Longest  Tail. 

The  Twin  Lambs. 

Why  the  Sheep  Ran  Away. 

POULSSON,  EMILIE.    Nursery  Finger  Plays.    Bos- 
ton :  Lothrop  Publishing  Co.     $1.25. 
The  Lambs. 

Child    Stories    and    Rhymes.      Boston  : 
Lotlirop  Publishing  Co.     $1.25. 
The  Story  of  Baby's  Blanket. 

In  the  Child's  World.    Springfield,  Mass.: 
Milton  Bradley  Co.     $2.00. 

Stories  of  Caterpillars  and  Butterflies. 

A  Visit  to  the  Weaver. 

John's  Trousers. 

How  a  Little  Boy  got  a  New  Shirt. 

Molly's  Lamb. 

Sequel  to  an  Old  Story. 

Cotton  Field  Stories. 

The  Flax. 

The  Flax  Flower. 

The  Silk  Worm. 

The  Sparrow's  Nest. 

The  Life  of  a  Silk  Worm. 

The  Goddess  of  the  Silk  Worm. 

The  Nest  of  Many  Colors. 

The  Little  Worm  that  was  Glad  to  be  Alive. 


Stories 


152 


HAND-LOOM  WEAVING 


Stories 


SMITH,  NORA  A.    The  Story  Hour.    See  WIGGIN. 

STORIES  IN  SEASON.     Plan  Book.     Chicago:  A. 
Flanagan.     35  cents. 

The  Bramble  Bush  and  the  Lambs. 

WIGGIN,  KATE  DOUGLAS  (Mrs.  George  C.  Riggs), 
and  SMITH,  NORA  A.     The  Story  Hour.     Bos- 
ton:  HoiigJiton,  Mifflin  &  Co.     $1.00. 
The  Child  and  the  World. 


WILTSE,  SARA  A. 
Morning  Talks, 
cents. 

Stories  of  Wool,  etc. 


Kindergarten    Stories   and 
Boston:    Ginn   &    Co.      75 


BOOKS  AND  MAGAZINE  ARTICLES 


A   LIST   OF   HELPFUL   BOOKS   AND 
MAGAZINE   ARTICLES 

BOOKS 

ALBEE,  MRS.  HELEN  R.  Abnakee  Rugs.  Bos- 
ton :  The  Riverside  Press.  Issued  by  the 
author,  Pcquakct,  Silver  Lake  P.  O.,  N.  H. 

Mountain  Playmates.    Boston :  HougJiton, 
Mifflin  &  Co. 

(Chapter  on  Rug-making.) 

ASHENHURST,  THOMAS  R.  Designs  in  Textile 
Fabrics.  London :  Casscll  &  Co. 


Weaving    and     Designing    of     Textile 

Fabrics.     London  :  Simpkin,  Marshall  &  Co. 

(Chapters  on  History  of  Weaving,  Color, 

and    Combination    and    Arrangement    of 

Designs.) 

BATES,  Lois.    Kindergarten  Guide.    New  York: 
Longmans,  Green  &  Co. 

BENJAMIN,   S.  G.  W.     Persia  and  the  Persians. 
Boston :  Houghton,  Mifflin  &  Co. 

BIRDWOOD,    SIR    GEORGE.     Industrial    Arts    of 
India.     London  :  Cliapman  &  Hall. 

BISHOP,    MRS.    I.    B.      Journeys   in  Persia   and 
Kurdistan.    New  York:  G.  P.  Putnam's  Sons. 


CAINE,    WILLIAM   S.     Picturesque  India. 
York :  George  Rout  ledge  &  Sons. 


New 


154- 


HAND-LOOM    WE  A  VING 


COLLINS,  TREACHOR  E.  In  the  Kingdom  of  the 
Shah.  London :  T.  Fisher  Umvin. 

DAVIE,  OLIVER.  Nests  and  Eggs  of  North 
American  Birds.  Columbus,  Ohio  :  The  Lan- 
don  Press. 

DELLENBAUGH,  FREDERICK  S.  North  Americans 
of  Yesterday.  New  York:  G.  P.  Putnam's 
Sons. 

DIXON,  CHARLES.  Curiosities  in  Bird  Life. 
London  :  George  Redway  &  Son. 

Curious   Nests.      London :    George   Red- 
way  &  Son. 

DUGMORE,  A.  RADCLYFFE.  Bird  Homes.  New 
York :  Double  day,  Page  &  Co. 

EARLE,  ALICE  MORSE.  Home  Life  in  Colonial 
Days.  New  York:  The  Macmillan  Co. 

FIRTH,  ANNIE.  Cane  Basket  Work.  London: 
L.  Upcott  Gill.  1899.  New  York:  Charles 
Scribner's  Sons. 

GRINNELL,  GEORGE  BIRD.  Indians  of  To-day. 
New  York :  D.  Appleton  &  Co. 

Story   of    the   Indian.     Nezv   York:    D. 

Appleton  &  Co. 

GURDJI,  V.  Oriental  Rug  Weaving.  New 
York  :  F.  Tennyson  Neely  Co. 

HERRICK,  FRANCIS  HOBART.  The  Home  Life 
of  the  Wild  Birds.  New  York:  G.  P.  Put- 
nam's Sons. 

HOLT,  ROSA  BELLE.  Rugs :  Oriental  and  Occi- 
dental. Chicago:  A.  C.  McChirg  &  Co. 

How  TO  MAKE  and  How  to  Mend.  (Directions 
for  dyeing.)  New  York  :  The  Macmillan  Co. 

HUMMEL,  PROF.  The  Dyeing  of  Textile  Fabrics. 
New  Y'ork :  Cassell  &  Co. 


BOOKS  AND  MAGAZINE  ARTICLES 


JAMES,  GEORGE  WHARTON.  Indian  Basketry. 
New  York :  Henry  Malkan.  1902. 

KNAPP,  ELIZABETH  S.  Raphia  and  Reed  Weav- 
ing. Springfield,  Mass.:  Milton  Bradley  Co. 

KRAUS-BOELTE,  MME.  Kindergarten  Guide. 
(Occupations.)  New  York :  Steigcr  &  Co. 

MASON,  O.  T.  Woman's  Share  in  Primitive 
Culture.  New  York :  D.  Applet  on  &  Co. 

MORRIS,  WILLIAM.  Some  Hints  on  Pattern  De- 
signing. NC'LV  York :  Longmans,  Green  &  Co. 

MUMFORD,  J.  K.  Oriental  Rugs.  New  York: 
Charles  Scribncr's  Sons. 

SHELDON,  WILLIAM  E.,  and  others.  Illustrated 
Lessons  with  Paper  Folding.  Springfield, 
Mass.:  Milton  Bradley  Co. 

WALKER,  LOUISA.  Varied  Occupations  in 
String  Work  ;  comprising  Knotting,  Netting, 
Looping,  Plating,  and  Macreme.  New  York  : 
Tlic  Macmillan  Co. 

Varied  Occupations  in  Weaving.     New 
York  :   The  Macmillan  Co. 

WHEELER,  MRS.  CANDACE.  Home  Industries 
and  Domestic  Weavings.  New  York :  Asso- 
ciated Artists,  7/5  East  2jd  Street. 

WHITE,  MARY.  How  to  Make  Baskets.  New 
York :  Doublcday,  Page  &  Co.  1902. 

WIEBE,  EDWARD.  Paradise  of  Childhood. 
Springfield,  Mass.:  Milton  Bradley  Co. 

WIGGIN,  KATE  DOUGLAS  (Mrs.  George  C.  Riggs). 
Republic  of  Childhood  (Occupations).  Boston: 
H ought  on,  Mifflin  &  Co. 

WORST,  EDWARD  F.  Construction  Work.  Chi- 
cago :  A.  W.  Mum  ford.  1901. 


'56 


HAND-LOOM  WEAVING 


Fine  art 

books 


Magazine 
articles 


FINE  ART   BOOKS 

The  following  books  can  be  found  in  the 
Fine  Art  Collections  in  some  public  libraries. 
They  are  very  valuable  and  contain  many  very 
beautiful  illustrations  of  oriental  rugs  and  car- 
pets, which  are  helpful  in  the  study  of  design 
and  of  harmony  in  color : 

BURTY,  P.     Masterpieces  of  Industrial  Art. 
COXON,  HERBERT.     Oriental  Carpets. 

LESSTNG,  JULIUS.     Ancient  Oriental  Carpet  Pat- 
terns. 
ROBINSON,  VINCENT  J.     Eastern  Carpets. 

VIENNA  IMPERIAL  AND  ROYAL  AUSTRIAN  MU- 
SEUM. Oriental  Carpets. 

MAGAZINE  ARTICLES 

A  PROFITABLE  PHILANTHROPY,  by  Mrs.  Helen  R. 
Albee.  Review  of  Reviews,  July,  1900. 

ART  OF  THE  AMERICAN  INDIAN.  Cliautauquan, 
March,  1899. 

A  STUDY  OF  THE  TEXTILE  ART,  by  Wm.  H. 
Holmes.  Sixth  Annual  Report,  Bureau  of 
Ethnology,  Washington,  D.  C.  (pp.  84,  85.) 

DOMESTIC  ART  NUMBER.  Pratt  Institute 
Monthly,  February,  1901. 

HOME  INDUSTRIES  AND  DOMESTIC  MANUFAC- 
TURES, by  Mrs.  Candace  Wheeler.  The 
Outlook,  Oct.  14,  1899. 

INDUSTRIAL  CLASSES  IN  SETTLEMENT  WORK, 
by  George  W.  R.  Twose.  Pratt  Institute 
Monthly,  November,  1898. 


BOOKS  AND  MAGAZINE  ARTICLES 


157 


INDUSTRIAL  EDUCATION  AS  A  SOCIAL  FORCE,  by 
H.  W.  Stebbins.  Educational  Review,  May, 
1902. 

JUVENILE  PORTIERE  MAKERS.  New  York  Tribune, 
New  York  City,  March  10,  1901.  Reprinted 
in  Minneapolis  Journal  Junior,  April  20, 
1901,  Minneapolis,  Minn. 

LEAF  CUTTING  (for  rug  designs).  Pratt  Insti- 
tute Monthly,  April,  1900. 

MRS.  VOLK  AND  HER  WORK.  Good  Housekeep- 
ing, September,  1901. 

NAVAJO  WEAVERS,  by  Dr.  Washington  Mat- 
thews. Tliird  Annual  Report  of  Bureau  of 
Ethnology,  Washington,  D.  C. 

(This  volume  also  contains  a  number  of 
fine  illustrations  of  blankets,  etc.) 

NEW  ENGLAND  RUGS.  Minneapolis  Journal, 
Minneapolis,  Minn.,  March  28,  iqoo. 

ON  THE  DESIGNING  AND  MAKING  OF  CARPETS,  by 
F.  J.  Mayer.  The  Artist,  July  and  August, 
i899. 

PREHISTORIC  TEXTILE  ART  OF  EASTERN  UNITED 
STATES,  by  Wm.  H.  Holmes.  Thirteenth 
Annual  Report  of  Bureau  of  Ethnology, 
Washington,  D.  C.  (pp.  91,  92.) 

SOME  SOCIAL  ASPECTS  OF  EDUCATION,  by  G.  Stan- 
ley Hall.  Educational  Review,  May,  1902. 

STRAW  WEAVING.  American  Homes,  Knoxvillc, 
Tenn.,  September,  icjoo. 

Teachers'  College  Record.  Teachers'  College, 
Columbia  University,  New  York. 

(Containing    a    number    of    articles    on 
weaving.) 


i58 


HAND-LOOM  WE  A  VING 


Magazine 
articles 


TEXTILE  INDUSTRIES  OF  THE  UNITED  STATES. 
Cliautauquan,  MarcJi,  1899. 

TEXTILE  INDUSTRY  SINCE  1890.  Forum,  May, 
i899. 

TEXTILES,  OLD  AND  NEW.  The  Craftsman,  TJic 
United  Crafts,  Eastwood,  N.  Y.,  January, 
1902. 

(Contains  "Notes  from  the  History  of 
Textiles,"  "A  Revival  of  English  Handi- 
crafts," and  "  Brain  and  Hand.") 

The  Elementary  School  Record,  by  Dr.  John 
Dewey.  Numbers  i  to  9.  The  University  of 
Chicago  Press,  1900. 

(Containing  a  number  of  articles  on 
weaving  and  a  record  of  industrial  work 
done  in  the  University  Elementary  School 
of  the  University  of  Chicago.) 

THE  LABOR  MUSEUM  AT  HULL  HOUSE,  by  Jessie 
Luther.  The  Commons,  Hull  House,  Chicago, 
Vol.  VII.,  No.  70,  May,  1902. 

(Containing  valuable  illustrations  of  old 
looms,  and  the  methods  of  spinning  and 
weaving.) 

WEAVERS  OF  THE  PHILIPPINES,  by  G.  E.  Walsh. 
The  Catholic  World,  March,  1902. 

WHAT  is  BEING  DONE  IN  TEXTILE  EDUCATION. 
Cliautauquan,  August,  1900. 

Many  topics  interesting  to  teachers  of  indus- 
trial work  are  dealt  with  in  the  instruction  papers 
of  the  International  Correspondence  Schools, 
Textile  department.  Communications  should 
be  addressed  to  Christopher  P.  Brooks,  New 
Bedford,  Mass. 


THE  INDEX 


"Abnakee  Rug  Industry,"  63  ff. 
Accuracy,  weaving  develops,  22. 
Acids,  used  in  dyeing,  69,  74  ff. 
Action,  relation  to  ideas,  8. 
Afghans,  weaving  of,  49,  54,  120, 121. 
Albee,  Mrs.  Helen  R.,  63,  64  ff. 
Angora  wool,  57. 
Aniline  dyes,  73. 

Ashenhurst,  quotations  from,  13, 14, 16. 
Axminster  rugs,  120-121,  131,  132,  134. 

Baby  shoes,  115. 

Balls,  worsted,  115. 

Basketry,  preparation  for,  23,  24. 

Bates,  Lois,  23,  31,  144. 

Bath  rugs,  too. 

Batten,  The,  Hindoo  and  Egyptian,  15. 

Bed  shoes,  113-114. 

Bed  spreads,  109. 

Blankets,  56-57  ;  carriage,  109. 

Blue  dye,  59-60  ;  wool  carded,  62. 

Bokhara  rugs,  123,  124-125,  128,  131,  134. 

Bookmark,  35-36,  37. 

Borders,  89,  109,  118,  121,  122,  123,  124. 

Candle- wicking,  52,  83-84,  108. 

Cap,  40. 

Carding,  62  ff. 

Carpet  ravelmgs,  see  Ravelings. 

Carpet  wool,  rugs  of,  105. 

Carriage  blankets,  109. 

Celluloid  strips,  55-56,  85. 

Chatelaine  bags,  117-118. 

Cheese  cloth,  51,  58  ff.,  99,  108. 

Chenille,  42,  53  ;  splicing  of,  83-84. 

Chinese,  weaving  practiced  by,  13. 

Clavigero,  on  weaving  in  Mexico,  14. 

Clouding,  63. 

Coles,  C.  S.,  24. 

Colors,  62,  64-65,  136-138  ;  color  scheme, 
66 ;  shading,  67-68 ;  see  also  Dyes, 
Formulas,  and  names  of  colors. 

Concentration,  weaving  develops,  22. 

Conversation  in  class  room,  147. 

Copperas,  60. 

Cotton,  darning,  55  ;  knitting,  55. 

Couch  covers,  weaving  of,  49. 

Creed,  The,  7  ;  disregarded,  7-8. 

Cushions,  120. 

Demonstration  cards,  31. 

Designing, weaving  prepares  for,  23,  25. 

Designs,  27,  31,  33,  35,  47-48,  57,  105  ff., 

I2O,   122. 


Dexterity,  weaving  develops,  22,  24. 
Discouragement,  Froebel's  theory,  17. 
Dish  cloths,  99-100. 
Doll's  shawl  and  skirt,  109-110. 
Doll's  towel,  55,  108-109. 
Dusters,  107-108. 

Dyeing,  14,  58-82  ;  formulas,  73  ff. 
Dyes,  kinds  of,  58,  60, 61,  72,  73  ;  see  also 
names  of  colors. 

Easel  support  for  loom,  19. 
Egyptians,  inventors  of  the  loom,  14. 

Face  cloths,  99-100. 

Felt  mats,  23,  30-32. 

Finger  Play,  143. 

Floor  rugs,  weaving  of,  49-50. 

Formulas  for  colors,  73  ff. 

Frames,  photograph  and  picture,  116. 

Free-paper  weaving,  35. 

Fringe,  111-113. 

Froebel,  Friedrich,  10,  17. 

Games,  143-152  ;  list  of,  148  ff. 

Germantown  wool,  54,  55,  84,  109,  114. 

Gifts,  made  by  children,  21,  34,37,55,113- 

Glauber  salts,  68,  69,  71,  74  ff. 

Glove  boxes.  104. 

Gray,  wool  carded,  62-63. 

Green  dye,  60  ;  dull  shade,  60. 

Hair  receivers,  121. 

Hammocks,  93-98. 

Hand-training  in  kindergarten,  10,  22. 

Hindoo  loom,  15-16. 

Holders,  91,  92. 

Hurwitz,  Professor,  13. 

Indian  dyes,  58. 
Indian  loom,  135,  137. 
Individual,  The,  training  of,  28. 
Industrial  training,  n,  28-29. 
Ink  stains,  61. 
Iron  rust,  61. 

"Jacob's  ladder,"  39. 

Kerman  rugs,  123. 

Khiva  rugs,  123,  125,  128,  131,  134. 

Kindergarten,  hand-training  in,  10. 

"Kindergarten  Guides,"  23,  31,  33,  144. 

Kiz-Kilim  rugs,  47,  123,  125,  1^6-129. 

Knotting  fringe,  113. 

Kraus-Boelte,  Mme.,  25. 


i6o 


HAND-LOOM    WE  A  VING 


"  Kraus-Boelte  Guide,"  25. 
Kurdji,  V.,  124. 

Leaf  forms,  107. 

Leaf  stains,  61. 

Leather  strips,  55,  85. 

Linings,  51. 

Loom,  The,  13-21. 

Loom,  The  Todd  Adjustable  Hand,  see 

Todd. 
Lunch  cloths,  109. 

Macreme  cord,  55:  splicing  of,  83-84. 

Making,  instinct  for,  9. 

Manual  training,  10. 

Materials,  10,  51-57. 

Mats,  see  Felt,  Paper,  and  Table. 

Matthews,  Dr.  \V.,  58,  136,  138,  140. 

Measuring  glass,  68-69. 

Mill,  John  Stuart,  8. 

Mitten,  40. 

Mordants,  68. 

Mottled  rugs  and  borders,  87  ff. 

Mumford,  John  Kimberley,  128. 

Navajo  blanke's,  48,  135-142. 
Needle,  used  with  loom,  19,  20. 
Nut  stains,  60-61. 

Opera-glass  bags,  118. 
Oriental  cord,  for  warp,  43. 
Oriental  rugs,  weaving  of,  122-134. 
"Oriental  Rugs,"  128. 
"Oriental  Rug  Weaving,"  124. 

Panels,  of  silk  canvas,  119. 

Paper  mats,  23,  25,  33  ff. 

"Paradise  of  Childhood,"  35,  105,  107. 

Patterns,  see  Designs. 

Pencil  holder,  38. 

Persian  rugs,  designs  for,  124. 

Photograph  and  picture  frames,  116. 

Pile  weaving,  132-134. 

Pink,  wool  carded,  62. 

Porch  curtains,  104. 

Portieres,  121. 

Poulsson,  Miss,  143, 146. 

Practical  training,  need  of,  10. 

Principles,  value  of  learning,  23. 

Public  schools,  practical  training  in, 

10,  18,  26-27. 
Purses,  117-118. 
"Pussy-cat  stairs,"  39-40. 

Quilts,  109. 

Raffia,  42,  45,  56,  58  ff.,  71,  84-85. 

Raffia  mats,method  of  -weaving,  101-121. 

Ravelings,  43,  53,  83. 

Red  dye,  60. 

Reins,  no. 


"Republic  of  Childhood,"  The,  34,  145. 
Rope  silk,  42,  52-53  ;  splicing  of,  84. 

Sachet  cases,  120. 

Scarf,  116. 

School  bags,  118. 

Scientific  facts  as  applied  in  schools,  8. 

Sequence  weaving,  35  ff. 

Serebend  rugs,  123. 

Shawls,  109-110. 

Shetland  wool,  56. 

Shoes,  bed,  113-114;  baby,  115. 

Shopping  bags,  118. 

Shuttle,  Egyptian,  15;  Hindoo,  15. 

Silk,  52;  knitting,  57. 

Silk  canvas,  119-120. 

Silkoline,  51,  83;  for  rugs  or  mats,  86-92. 

Skirt,  doll's,  no. 

Slats,  weaving  with,  23-24,  30-32. 

Sleeve  protectors,  117. 

Slumber  robes,  49,  54,  120,  121. 

Socks,  113-114. 

Sofa  pillows,  120. 

Songs,  games,  and  stories,  143-152. 148  ff. 

Splicing,  methods  of,  83-85. 

Splints,  weaving  with,  23-24,  39. 

Star,  37. 

Steiger,  E.,  publisher,  35. 

Stories,  143-152;  list  of,  148  ff. 

"  Straw  Weaving,"  104. 

Success,  Froebel's  theory,  17. 

Sweater,  doll's,  41. 

Table  cover,  49. 

Table  mats,  38,  116,  117. 

Tarn  O'Shanter,  no. 

Tassels,  112. 

Tippet,  116. 

Todd  Adjustable  Hand-loom,  18-21. 

Towels,  doll's,  55,  108-109. 

Turkish  rugs,  designs  for,  47-48, 123-124. 

Vegetable  dyes,  58,  61,  72. 
Vegetable  fibres,  for  weaving,  13,  14. 
Veil  cases,  120. 

Walker  and  Jenks,  song  by,  144-145. 

Warp,  20,  ^2-50. 

Weaving,  its  advantages,  n,  22  ;  old- 
est of  the  industrial  arts,  12,  13,  14  ; 
defined,  22  ;  first  steps  in,  23,  30-41; 
free  paper,  35. 

Wheeler,  Mrs.  Candace,  58. 

Wiebe,  Edward,  34-35- 

Wiggin,  Mrs.  Kate  Douglas,  34,  145. 

Wilton  rugs,  120-121,  131,  132,  134. 

Woof,  stringing  of,  20. 

Wool,  for  weaving,  13,  14,  54,  62  ff. 

Worsted,  splicing  of,  83. 

Wristlets,  116-117. 


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